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A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
flag
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
This view of the courtyard was from inside the castle towards the Portcullis Lodge.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Grade II listed building
Portcullis Lodge and Retaining Walls to Forecourt of Eastnor Castle
Listing Text
EASTNOR CP EASTNOR
SO 73 NW
4/30 Portcullis Lodge and
Retaining Walls to
Forecourt of Eastnor
Castle
-
GV II
Lodge and retaining walls to forecourt. 1815-16 by Robert Smirke. Lodge
of coursed squared rubble and freestone dressings; roof concealed behind
embattled parapet. Single storey on battered basement. Central pointed
archway. 2 stage round corner towers, on battered plinths. On the
entrance front tower, narrow slit windows face inwards and round-head
windows in deep freestone embrasures face outwards. Chamfered string
course and panel of arms in the centre. 2 plank doors in pointed free-
stone surrounds on inner side of archway. Flanking the lodge are tall
retaining walls which return towards the castle and enclose the forecourt:
coursed rubble with freestone coping and embattled parapet; approximately
6 - 8 m high on the outside and buttressed at north corner.
Listing NGR: SO7345336939
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The castle have set up a frame here for visitors to take their photos!
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Volunteer Coordinator and Tammy Warde of Kokomo the volunteer coordinator assistant are working to keep the project full of volunteers. They are also working on other community projects. 20 homes for the elderly are being worked on by having there lawns mowed and help around the home. There largest outside project is with the Domestic Violence Shelter on 405 E. walnut street, kokomo. They are putting on a new roof which is being donated in the sum of $10,000; new carpet for many rooms and new paint for most of the rooms. They are building three homes through the habitat for humanity to deserving families. Lastly they are helping out a young women who’s mother died two years ago and was put in charge of taking care of her double amputee grandmother. She just moved out of her grandmothers house and she is getting new furniture and a new coat of paint in her apartment.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
Around the grounds at Eastnor Castle.
Reed Bed
View towards the castle.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Flag
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the path amongst the trees - the lake walk.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The castle have set up a frame here for visitors to take their photos!
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
turrets to the right
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the path amongst the trees - the lake walk.
turret
Hudson Hessel-Heard and his father, Andy Heard, had a great view of the crowds along the street from the Outside Projects truck.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
Behind the castle tea room. Small car park. Disabled access to tea room.
The castle is to the left of here.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
Around the grounds at Eastnor Castle.
Reed Bed
View of Eastnor Castle from this side. Eastnor Lake is between the castle and the reed bed from here.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Flag
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
From the Upper Terrace.
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
laatste nieuws... :::doebie doebie doebie DOEL:::
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
laatste nieuws... :::doebie doebie doebie DOEL:::
This evening we find ourselves gazing at the beginning of a winter storm. Thhis photo of the porch outside our front door symbolizes pretty well how the cold is kept outside!
Thanks for lookin’ and have a magical day!
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There's a giant camera obscura at the cliff house, near ocean beach. It was made in 1946 and still works great! There's a prism/lens on the roof that rotates and projects an image down into a darkened room (onto a curved surface) so that you can see the outside projected inside. It's really neat.
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
:::Doel blijft!:::
:::Doel blijft!:::
I'm working on this NOISE project (http://www.noisesingapore.com/) recently... it's something like an apprenticeship where I design stuff for the Glastonbury Festival 2007.... not that the design will be used... more like, it's something I can try designing on and have this guy from London (my mentor) teach me stuff along the way.... erm... I wanted to try designing some stuff and stay away from paper for a while (it's good for the mind too).... but since I don't know how to use ANY drawing programs, I end up drawing everything by hand, and adding colors using PAPER. Hahaha... geez....
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
:::Doel blijft!:::
:::Doel blijft!:::
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
:::Doel blijft!:::
:::Doel blijft!:::
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
:::Doel blijft!:::
:::Doel blijft!:::
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
:::Doel blijft!:::
:::Doel blijft!:::
via All Travel Vibes ♪ © "Enjoy! With the Best Pictures goo.gl/hNg5ak All Travel Vibes is an online travel and photography magazine. Our goal is to inspire your next adventure while sharing your last one with the world. And You can Get Ebook For Free "Travel Deeply Do It Cheaply" ; Best ebook For Travelers & Adventurers 100% Free . now goo.gl/wnNvgp ."
Weeks after shooting this photo I was scrolling through my frames and was amazed to see, what looked like, two shooting stars intersecting each other in the corner of my image.
Surely the chances of this would be so infinitesimally possible that it couldn’t be. 💫
Were they satellites? Probably. I’m not going to let logic get in the way of a perfectly romantic explanation though.
As far as I’m concerned; in front of my camera, on a clear night, two stars met. 💫 💫
.
.
.
.
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☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
laatste nieuws... :::doebie doebie doebie DOEL:::
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
:::Doel blijft!:::
:::Doel blijft!:::
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
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laatste nieuws... :::doebie doebie doebie DOEL:::