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The display installation featuring a Nordic-inspired at the Flower Dome, Gardens by the Bay during Poinsettia Wishes floral display.
qwikLoadr™ Video...
Natalie Merchant | Kind and Generous Official! • mail.RU™
NOTE: @ 2:43 she jumps through like a drum with a star! on it
treeSparrow | Molecular Model [5.14.19] gwennie2006! • YouTube™
Little Drummer Boy
Queens of the Stone Age | No One Knows Live! Reading • YouTube™
NOTE: @4:19 she point to the light.
blueSun | part I [4.19.19] gwennie2006! • YouTube™
blueSun | part II [4.19.19] gwennie2006! • YouTube™
blueSun | part III Eagle! [4.19.19] gwennie2006! • YouTube™
blueSun | part IV buttercup [4.19.19] gwennie2006! • YouTube™
Okay, so like there was a big Base drum at Chelsea Fire today, and an old Police Cruiser on tow truck, with the trunk open?? rather strange, and nothing in the Mystic.....still. Eye in the Sky at the Converse HQ with new patina sign too. First Responders!! Cement Mixer at the Bus Stop, see comment too. Guide through the BrickYard to Scollay Square, and the blonde woman was at theKitchen place. Homeland Security at the Stoolies too, last time they were there they had a sniffing dog too. School bus drive by at Scollay square as well, and Sp[r]y!! at work when I got there...all day too.
blogger gwennie2006 | Blue Wave part III Osprey...
gwennie2006.blogspot.com/2019/04/blue-wave-part-iii-osprey...
Tenuous Link: Bass Drum
NOTE: When I did that collage I wasn't sure who was doing the various things, but it was so obvious [for years] that someone was. 9 months later October 23, 2016 I found out it was Deanna's mother Katherine, and the Mayor of Somerville, and most likely Fox25 News [Bob Ward].
NOTE 2: On July 17, 2017 I contacted the FBI and spoke to a woman for almost an hour, gave her tons of information and proof. I had initially hoped to meet with them, and explain more thoroughly the many, many years of work involved. They have the evidence, I gave it to them and some of it has since been removed, which makes it more incriminating to them.
View large: click B l a c k M a g i c
9/52 Weeks For Pix: The Kitchen
Okay these challenges are stretching my abilities. My camera does not take great in-door shots, and it's not usually the place I take photos-- but I tried. Sort of bland photo, so I jazzed it up with fractalius filter. I tried and tried to get a got composition with a lemon, having admired many of my contacts beautiful photos with lemons-- no luck.
Taken 2/28/10, Uploaded 3/4/10, #1781, Fractalius filter
If you wish, view "my own favorites" of my photostream, or view all of my Photostream, sorted by Interestingness: fiveprime.org/flickr_hvmnd.cgi?search_domain=User&tex...
Kim Gordon
The Kitchen Benefit honoring Kim Gordon and Dan Graham at Cipriani Wall Street on May 21, 2015
Performances by:
The Feelies
Stephen Malkmus
The Raincoats
AFter party DJ Jake Maginksy and Bill Nace/ Open Mouth Records Crew
Credit: Stephanie Berger
Kim Gordon
The Kitchen Benefit honoring Kim Gordon and Dan Graham at Cipriani Wall Street on May 21, 2015
Performances by:
The Feelies
Stephen Malkmus
The Raincoats
AFter party DJ Jake Maginksy and Bill Nace/ Open Mouth Records Crew
Credit: Stephanie Berger
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Victorian Kitchens
The Kitchen
Langar (Punjabi: ਲੰਗਰ) (kitchen) is the term used in the Sikh religion for the common kitchen/canteen where food is served in a Gurdwara to all the visitors, without distinction of faith, religion or background, for free.
At the langar, mostly only vegetarian food is served, to ensure that all people, regardless of their dietary restrictions, can eat as equals.
The Château de Vaux-le-Vicomte is a Baroque French château located in Maincy, near Melun, 55 kilometres (34 mi) southeast of Paris in the Seine-et-Marne department of Île-de-France.
Built between 1658 and 1661 for Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th-century Europe.
Source: Wikipedia
Visit the website at: montereymedia.com/theatrical/films/kitchen.html
© 2012 The Kitchen Movie, LLC. Courtesy of monterey media.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
DECISIONS -- DECISIONS -- DECISIONS
So now that you have thoroughly enjoyed your big leisurely breakfast down here on the casino level of Resorts World, can you easily explain to your very lovely lady 772 miles back home the differences between the three world-class resorts that occupy this vast Vegas Strip campus? 🤔
The Hilton is swanky and takes up most of the rooms in the three tall resort towers. The Hilton tends to offer 400+ square feet of living space at around $200 a night. The Conrad is even more swanky and takes up most of the high city-view and the high Strip-view rooms in the three tall towers. The Conrad tends to offer 700+ square feet of guest room and guest suite living space at around $400 a night. The Crockfords are much more swanky than the Hilton and the Conrad and take up the Cabana pool level and the top penthouse floors of the three tall resort towers! The Crockfords offer suites and villas and palaces ranging from a thousand square feet to around 6,000+ square feet of living space ranging from $1,100 a night to a whole lot higher!! 😧
Your final charge will depend on how well and how luxuriously you wish to eat, drink, play, and sleep -- so enjoy! 😏
But Resorts World doesn't take pets! So if your very lovely lady wants to pay you a surprise visit, and move into your Conrad One Bedroom Strip-View Suite, she won't be able to bring along her two adorable Westy Terriers!! 😁
A5 flyer screen printed white + über gloss on 330gsm Black Plyke for Design Friendship.
Kim Gordon
The Kitchen Benefit honoring Kim Gordon and Dan Graham at Cipriani Wall Street on May 21, 2015
Performances by:
The Feelies
Stephen Malkmus
The Raincoats
AFter party DJ Jake Maginksy and Bill Nace/ Open Mouth Records Crew
Credit: Stephanie Berger
with Longo's Wednesday Chicken Night Special
www.longos.com/TheKitchen/lrg_chicken.jpg
with chicken, green onions, hoisin sauce & tortillas
My latest attempt at making croissants, fresh out of the oven. Most successful of them al,l yet not quite what I was looking for.
Post on my blog.
Kim Gordon, Sofia Coppola
The Kitchen Benefit honoring Kim Gordon and Dan Graham at Cipriani Wall Street on May 21, 2015
Performances by:
The Feelies
Stephen Malkmus
The Raincoats
AFter party DJ Jake Maginksy and Bill Nace/ Open Mouth Records Crew
Credit: Stephanie Berger
Den Haag is vandaag een nieuw restaurant rijker: Bijenkorf The Kitchen!
Heel mooi en in stijl een bezoek meer dan waard
(Photos by World Farmer Staff) As we join thousands of family farmers, food justice advocates, friends, allies, and collaborators in mourning the loss of Kathy Ozer, long time executive director of the National Family Farm Coalition, we must also take time to celebrate her life and legacy.
Join the NAMA and our co-hosts Farm Aid, Food and Water Watch, Food for Maine’s Future, Gloucester Fishermen’s Wives Association, Rural Coalition, Sustainable Business Network of Massachusetts, Why Hunger, Women of Fishing Families, and World Farmers for an evening of food, music, and friends.
The night will feature a feast of seafood dishes featuring the catch of New England's community-based fishermen mixed with some landfood from the region’s family farmers. You’ll enjoy cocktails, live music by the SeaFire Kids, and cooking demonstrations by local chefs, while you remember Kathy and scheme about how you will work to continue the fight for those who catch, grow, and raise our food.
Our sponsors, chefs, and food providers for the evening include:
Annie Copps, the former food editor with Yankee Magazine and Boston Magazine
Boston Smoked Fish
Daniele
Hopsters Alley
MA Wine Growers
Nella Pasta
Nicola Williams and Ms. Kay
Ocean97 featuring former New England Patriots Jarvis Green
Reaching Out to Cook with Kids (ROCKs)
Red's Best
Seaview Farm
SnapChef
The Trustees of Reservations and Appleton Farms
As the executive director of National Family Farm Coalition, Kathy's commitment to elevating the voice of family farmers was essential to address the injustices that ensued after the farm crisis. In 2008, recognizing the similarities between family farmers and community-based fishermen, Kathy invited the Northwest Atlantic Marine Alliance to become a member of NFFC. From there she advocated as strongly for community-based fishermen as she had been doing for family farmers.
Kathy passed away peacefully on January 22, 2017 after a battling lymphoma. We are committed to honoring her many years of service to bettering this world - especially for all the people who nurture and support us through good food - by staying in the fight.
A visit to Aberconwy House on Castle Street and High Street in Conwy. Was raining outside. The National Trust has owned it since about 1976. Shop on the ground floor, and a couple of floors in a period look on the two upper floors.
Aberconwy House, 2 Castle Street, Conwy, Wales is a medieval merchant's house and one of the oldest, datable, houses in Wales. Constructed in the 15th century it is, along with Plas Mawr, one of the two surviving merchants houses within the town. Its historical and architectural importance is reflected in its status as a Grade I listed building. The house is administered by the National Trust.
Following the conquest of Wales by Edward I in the late 13th century, Conwy, with its castle and walls, became an important strategic and commercial centre.The town was granted a Royal charter in 1284 and English settlers, particularly from the counties of Cheshire and Lancashire, were encouraged to populate the new borough. Aberconwy House is a rare survivor of a number of such houses-cum-warehouses built by English merchants trading on the Welsh Marches in the medieval period. Tree-ring analysis of the roof timbers shows that the trees were felled c. 1417–1420. This dating makes it one of the oldest, datable houses in Wales and the importance of the building was recognised in 1950 when it was designated a Grade I listed building. In the 19th and 20th centuries, the house served as a temperance hotel and, following closure and other subsequent uses, it was left to the National Trust for Places of Historic Interest or Natural Beauty in 1934. The Trust undertook an extensive restoration in 1976 and the house is now run as a museum.
The house is of two upper-storeys, over a cellar. The top floor is jettied, with the overhanging structure supported on corbel stones, "a mark of prosperity". The building is constructed around a timber frame which shows a Kentish or Wealden influence.
Grade I Listed Building
History
A storeyed medieval house, with roof timbers built from trees felled in 1417-20. It was probably a high-status merchant's house built close to the town's Porth Isaf (or Lower Gate) and quay. It was originally probably 2 storeys. Fireplaces were added in the late C16 or C17, probably when the ground floor was divided into 2 storeys by the insertion of another floor, creating a 1st-floor hall and ground-floor service rooms. In the C17 it was the town house of Evan David, who had vegetables from his farm sold on the lower floor. In the C18 and early C19 it was the home of Captain Samuel Williams, dealer in slate, copper and lead. From 1850-1910 it was The Aberconwy Temperance Hotel and coffee shop.
Subsequently it was a bakery and an antiques shop, before it became the property of The National Trust in 1934. Extensive restoration in 1976 first revealed the Kentish-style timber framing. Casement windows, stair and slate roof all belong to this period.
Exterior
A 3-storey house of rubble stone to lower storey, timber-framed in the upper storey, under a steep slate roof (replacing original stone tiles), with projecting lateral stack to the rear and central stone stack to the front roof slope. The ground-floor entrance is at the L end, with steps leading down (the ground floor is below the modern street level). It has a segmental-headed freestone doorway, with replacement half-glazed boarded door. Windows are mainly leaded-casements in wooden frames, mostly in earlier openings. In the lower storey is a 2-light window to the R of the main entrance, and another 2-light window R of the external stair under a renewed stone lintel. At the R end is a probable original doorway with weathered surround, comprising dressed stone jambs and shouldered lintel, under a relieving arch. It has a 2-light casement at pavement level, although the opening was originally lower.
Central external stone steps, added when the additional storey was inserted in the C16 or C17, with simple parapet, lead to the entrance to the 1st-floor hall, which is offset slightly L of centre. The entrance details are C18, a boarded door under a 2-pane overlight. To its L is a corbelled oriel window, also added when the additional storey was created, with 3-light casement. On the R of the entrance is an unequal pair of C19 sash windows, of 8 and 12 panes.
The 2nd floor is jettied on corbelled brackets, and is framed in Kentish style with large panels and arched braces. It has three 2-light windows, in frames designed for 4-light diamond-mullion windows.
The R gable end, to High Street, has a 3-light 1st-floor window under a lintel, although its head and sill have been raised above the original level. On its R side is a doorway cut down to the level of the landing on the main stair, but originally higher, evidence for which is a raised bracket with wooden lintel beneath it. (This doorway is shown blocked in a photograph of 1956.) In the gable is a closed truss and 2-light window similar to the front. The rear is abutted by No 1 High Street, but on the R side is a rubble-stone external stack flanked by shallow outshuts.
Interior
The 1st floor is now 2 units, with timber-framed partition. The hall on the R has a cross beam and dragon beam, with heavy joists. The solar or kitchen, originally the upper end of the hall, has one spine beam, which is on a corbelled bracket to the gable end wall (similar to the external corbelled brackets of the jettied upper storey, and probably re-used from there), and heavy joists. Its lateral fireplace against the rear wall has a re-used timber lintel. The oriel has window seats.
The 2nd floor is divided into 3 rooms by C16 partitions, one with exposed wattle. The central room has a ceiling with spine beam. Four trusses, including the High Street gable, have tie and collar beams, and the roof has one order of windbraces. The L gable end against No 4 High Street is rubble stone and has 2 blocked windows. A blocked window in the gable suggests a former attic storey, evidence for which are 2 sawn-off spine beams in the L end truss.
The ground floor, which is lower than modern street level, was a service room or rooms. It has 3 late C16 or C17 cross beams with stopped chamfers, and a corner fireplace to the L side of the rear. At the R end, next to the medieval opening facing Castle Street, is a corbel in the gable end wall.
The full-height stair, possibly in the position of an earlier stair, was part of the 1976 restoration, and is in C17 style with fretwork balusters.
Reasons for Listing
Listed grade I as one of the oldest securely dated houses in Wales, and the oldest and most complete with a distinctively urban plan.
The first floor.
The Kitchen
The bread crate