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RBC Wealth Management has helped individuals, families, businesses and institutions accomplish their important financial goals for generations. Our friendly, clients-first culture is a reflection of our stewardship values. And we maintain a high degree of local autonomy as leading regional securities firms have combined over the years to become one of the most respected full-service investment firms in the United States.
for the most part. yes.
i happen to have a pretty good spot in the pyramid so it's not too big of a deal for me but i do believe it to be true.
motherjones.com/politics/2011/02/income-inequality-in-ame...
the real question is, do i have better solution? and where is it?
October 8, 2014 - Washington DC,. 2014 IMF/World Bank Annual Meetings. Making Extractive Industries' Wealth Work for the Poor. Opening remarks by Sri Mulyani Indrawati, World Bank Managing Director and Chief Operating Officer
Panelists: Tan Sri Nor Mohamed Yakcop,Deputy Chairman, Khazanah Nasional Berhad, Malaysia Sovereign Wealth Fund; Ombeni Sefue, Chief Secretary, Government, Tanzania; Marinke van Riet, International Director, Publish What You Pay; Samuel Walsh, Chief Executive Officer of Rio Tinto.
Photo: Grant Ellis / World Bank
I was told that this is the symbol of wealth as it has a "big mouth and a small buttocks".... the intake is greater than the ourput!
Sounds like capitalism to me!
Today I visited the Laughanstown Area of Dublin and used my new Voigtlander 40mm lens to photograph a number of historic sites nearby.
I am willing to bet than most Dubliners do not know of this place or that if they see the name they will assume that it is a misspelling of Loughlinstown [which is nearby]. To add to the confusion the tram stop is Laughanstown but the laneway leading to Tully Church is Lehaunstown.
For a number of years the area has been in the process of being re-developed on a massive scale but the development has stalled a number of times.
Tully Park, a major element of the current redevelopment programme, is located at the centre of the Cherrywood development, and the park itself is centred on the ruins of the Tully Church and Graveyard. When completed, Tully Park will be 22 acres in size, roughly the same as Dublin’s St. Stephen’s Green Park.
Being the flagship park of Cherrywood, Tully Park will serve as a facility for the entire development, containing everyday walking and cycling routes and providing environmentally-positive connections.
According to the original plans Lehaunstown Lane and the existing hedgerows and tree lines will divide Tully Park naturally into four zones:
A Heritage Zone with Tully Church & Graveyard, High Crosses and their environs, with paths to explore the monuments.
A Biodiversity Zone with lots of native wildflowers, shrubs, trees and informal paths to wander.
A Play Zone which includes a large play area for kids, a skate park and an amphitheater area for open-air plays or performances.
A Passive Zone with lawns, meadows and wooded areas make up the majority here, with winding paths and seating areas.
My understanding is that there will be two other parks as described below:
Ticknick Park - Intended to provide more formal recreational amenities, Ticknick Park will have 5 pitches for field sports , with paths and walking routes around the perimeter for jogging and training. Existing mature trees and hedgerows will be protected and retained, with discreet car parking adjacent to the playing areas.
This is a substantial park area, offering the potential for an urban farm, allotments, orchards, woodland areas, cycle tracks and much more, given Ticknick Park will be comparable in scale to Dublin’s Marlay Park.
Views from the park will take in the Dublin Mountains, Ballycorus Lead Mines, Dublin Bay and Killiney Bay, from Poolbeg to Bray Head and as far as Howth.
Ticknick Park will include:
5 multi-use grass playing pitches
Pavilion building
‘Greenway’ route continuation into the park to provide prioritised pedestrian and cyclist access
Jogging & Walking Paths
Connecting paths to The Dublin Mountain Way hiking routes
Car & Bicycle Parking
Beckett Park - Beckett Park is envisioned to be a multi-use space, mixing formal and informal recreation. The wealth of amenities will be complimented by pathways, benches and landscaped biodiversity.
Beckett Park will be enclosed and secure, with the potential for shared use of the sports resources with Cherrywood’s schools, 2 of which are adjacent to the park.
Beckett Park will have an abundance of amenities including:
All Weather Sports Pitch
Tennis Courts
Plaza Spaces
Paths & Jogging Tracks
Sports Pavilion with Green Roof and café and terrace
Boules Courts
Outdoor Gym
Playground
Multi-Use Games Area
The park will provide a visually and spatially exciting place and an intensive and active space, which will enhance the quality of life for future residents.
Overview of Charters Towers History.
Until around 1900 this was the second largest city in QLD! It called itself “The World” and with good reason. The gold finds here lasted a good 40 years. The town had a long period of wealth and growth. And the town took itself to the world which was a first for any mining centre in Australia and for any city apart from the state capital cities. Because of the wealth in the town share brokers started businesses there in the early 1880s. They agreed in 1885 to form a group and establish a stock exchange – the only one in Australia that has ever existed outside of a capital city. Then in 1886 they took the city to the world- at the 1886 Colonial and Indian Exhibition in London. The set up a display of mining and ore crushing and they accepted £1 shares in various mining companies that operated in the town. It was a great success. One company is an example- Day Dawn Block and Wyndham- they received almost £500,000 in paid up shares to finance their future mining work! This exhibition put Charters Towers on the world map and was the first time London investors invested directly in Australian mines rather than through a London based share broking company or finance company. Some of the companies were duds but most were not. The peak gold yields from Charters Towers did not come until 1899 but these yields would not have occurred without the London finance for the deep shafts that were needed to reach to gold. The influx of money into the town transformed the place. The wooden structures, many dating from 1872 the time of the original gold finds were replaced with lavish and imposing stone and brick structures. The main street was rebuilt. Grand houses were built by the successful miners and the period from 1886-1893 was a boom building period. Prosperity was assisted by the development of the new cyanide gold processing works which produced even more gold for the miners and investors. The new cyanide works opened in Charters Towers in 1892. Fortunately we can still see some of this faded glory in Charters Towers today. But in the 1890s it was the best place to live in QLD outside of Brisbane. Thus it was not surprising that the Northern Mining Register newspaper wrote in 1897 that:
Most mining in Charters Towers ceased around 1912.
Discovery and Early Establishment of Charters Towers.
Hugh Mosman, whom we have heard of before on this tour, George Clarke, John Fraser and their Aboriginal horse boy called Jupiter Mosman were prospecting near Ravenswood in December 1871 when they found the first gold in the region. They registered their find as Charters Towers after Mr Charters the Gold Commissioner of the day and Towers because of the conical shaped stone hills (tors) near the site which looked like towers. A gold rushed quickly followed in 1872 with the birth of the town. Mosman and his mates discovered 10 gold reefs. Early finds were of alluvial gold but soon deep shafts were needed to extract the ore and companies were formed with money and capital to undertake this work. British investment led to the transformation of the canvas and wooden town into a fine stone metropolis occurred after 1886 as explained above. The gold at Charters Towers was the major find in QLD and an important find for Australia. By the end of 1878 there were 12 mills processing ore in the town. The Venus Battery works which started operations in 1872 operated right through until 1972. For most of the period from the mid 1870s up to 1906 gold exports from QLD exceeded those of the other major QLD export - wool. QLD certainly had much more gold than NSW but much less than Victoria although not all QLD gold came from Charters Towers. During its peak years over 200,000 ounces of gold a year were mined in Charters Towers. Although the mining companies closed down operations in 1912 individual miners continued working the field right up to World War Two and the old cyanide ore dumps from the battery works have been reworked since then.
To recognise the importance of his find the main street of Charters Towers was named Mosman Street. In 1882 the town was linked to Townsville by rail improving communication with the outside world. The two day trip to Townsville now took a few hours. In the boom period of the 1890s Charters Towers saw the erection of some of its major structures such as:
•the Stock Exchange Arcade ( 76 Mosman street)
•the amazing classical structure for the former Australian Bank of Commerce (86 Mosman Street)
•Ayot House that we visit ( 63 Hodgkinson Street)
•the Court House ( 32 Hodgkinson Street)
•the former School of Mines building ( 24 Hodgkinson Street)
•the classical revival Post Office with tower ( 17 Gill street) built in 1892
•the historic Civic Club for the well-to-do miners ( 117 Gill Street)
•the old Police Station and barracks ( 51 Gill Street)
•the wooden tower bell of the former Anglican church and rectory ( 134 Gill Street).
•the impressive Masonic Temple ( 18 Ryan Street)
•the Thornburgh House and later college buildings ( 57 King street) - this was originally a grand home for a wealthy town businessman, later becoming a college after 1919.
All of the above buildings and more are on the Register of the National Estate and others are on the QLD register. Most survived because when the gold did peter out the town remained a major agricultural service centre and education centre. It never lost the bulk of its town population. Lissner Park with its charming rotunda and bandstand complex at Deane Street (on corner with Bridge Street) is one of many reminders of the heyday of the town. The structure opened in 1910 as a memorial to those who served in the Boer War. The wrought iron was forged in Charter Towers itself in a local foundry. The original marble benches have been vandalised or broken but the bandstand is still charming and picturesque with some good historical details. Quite a few hectares around Mosman and Gill streets are on the Register of the National Estate as the area contains so many 19th century buildings, many with original features and details despite their current commercial usage.
Charters Towers Today.
The city has 8,000 inhabitants down from the 19th century 20,000 and then 1915 population of the 15,000. But some gold mining was re-activated in the 1980s and again after 2001. Mining is still a significant employer of townspeople and Citigold Corporation Ltd announced in 2006 that they would work four mines beneath the current township. They are excavating 250,000 ounces of gold a year. Tourism is not a major employer but education is still important. The city still has private boarding schools for the children of the outback pastoralists and a total of four secondary schools. There are still 8 hotels in the town and tourist attractions do employ some locals in some of the old restored building such as the former Stock Exchange which is now a museum and the Venus Gold Battery.
An unusual display of extreme wealth and arrogance. Strictly speaking you are not allowed to park your Bentley here as it is a semi pedestrianized zone and certainly not to visit the betting shop. The contrast between the two vehicles says it all!
Used free Digikam Showfoto photo editing software to enhance the images.
Camera used was a Panasonic DMC-FX12 pocket digicam which has a good lens but nothing else to recommend it.
Il Pozzo di San Patrizio storico è una struttura costruita da Antonio da Sangallo ad Orvieto, tra il 1527 e il 1537, per volere del papa Clemente VII. I lavori del pozzo – progettato per fornire acqua in caso di calamità o assedio – furono conclusi durante il papato di Paolo III Farnese.
L'accesso all'acqua, capolavoro di ingegneria, è fornito da due rampe elicoidali a senso unico, completamente autonome e servite da due diverse porte, che consentivano di trasportare con i muli l'acqua estratta, senza ostacolarsi e senza dover ricorrere all'unica via che saliva al paese dal fondovalle.
Il pozzo, profondo 62 metri, è stato realizzato scavando nel tufo dell'altopiano tozzo ed alto della valle tiberina ove sorge il paese di Orvieto, una pietra abbastanza dura ma che ora sta risentendo, dopo vari secoli, degli scarichi fognari.
Ha forma cilindrica a base circolare con diametro di 13 m.
Gli scalini sono 248, e i finestroni che vi danno luce sono 70.
Forse per l'aura di sacro e di magico che accompagna le cavità profonde, o per pura imitazione di modelli cinematografici, i turisti moderni vi gettano monetine con la speranza di tornarvi.
[Fonte Wikipedia]
Dijkzigt | Museumpark, Westzeedijk
Red Wealth: Soviet Design 1950-1980 exhibition, Sep.26, 2015 - Feb.14, 2016.
The exhibition Red Wealth. Soviet Design 1950-1980 illustrates the history of Soviet design in a fascinating overview. Consumer culture was a stranger to communism until the 1950s. This started changing in 1959 when an exhibition in Moscow presented the American Way of Living.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
This is the largest fountain in the world. In populer culture, the inward flowing water of the fountain was used for two reasons. Water is known as the symbol of life and wealth in Chinese culture, and the inward motion of the water symbolises the retention of wealth for Suntec City. According to feng shui experts (Chinese geomancers), the water flowing inwards represents riches pouring in, thus the name Fountain of Wealth.
With the introduction of the flapper dress and new customs, American women of wealth during the 1920s began to diversify themselves in both dress, and ideology.
Taken in school's photo room.
Model: Nichola
Miao children in full dress adorned with solid silver ornaments that is the trademark of their culture.They do this to show off their family wealth and also in the days of old, when enemies came, they could evacuate their wealth with them in a moment's notice. Wealthy Miaos can wear as heavy as 12 kg of silver on them. Taken with Canon EF24-105mm L on 7D, SOOC
Chippenham Park Gardens
Chippenham, Ely, Cambridgeshire CB7 5PT
www.chippenhamparkgardens.info
Chippenham Park is a large country house with substantial gardens, lakes, woodlands walks and parkland dating back to the 17th Century. The spectacular gardens are open to the public several times a year from Spring through to Autumn.
The Park is also available for weddings, special events and photographic shoots.
The gardens received a top, two-star rating in the Good Gardens Guide 2010, placing them amongst the finest gardens in the country.
14th October Glorious Autumn colours and late colour in the borders. Famously delicious BBQ, Teas, Cakes and refreshments.
The Gardens...
Chippenham Park was created at the very end of the 17th century as an 'Anglo-Dutch' designed landscape comprising canals, park, and formal gardens.
It was subsequently informalised by 18th and 19th century designers including William Eames and Samuel Lappidge. Chippenham Park contains a wealth of earthworks and waterways which relate to the parkland and garden landscapes and to the village settlement which pre-dated the park.
Features that have remained surprisingly static through history include the walled kitchen garden, the formal waterway on the east side of the park; and complex waterways south of the kitchen garden. Some of the trees, including those marking the original drive from the west.
The Gardens Now...
When Anne Crawely moved to the Chippenham Park estate in 1985 she immediately set about restoring and expanding what had once been a great garden.
There is now possibly the greatest display of snowdrops and aconites in East Anglia and the Spring Garden with its breath-taking display of daffodils, narcissi and shrubs stretches for half a mile around the lake. Additionally there are recently restored and cleared great canals created in the 18th century.
The summer garden has a huge display of nearly 500 roses and a generously stocked ‘Long Border’ of perennials and shrubs of about 250 metres in length. The ‘Wilderness’ is a wooded walk full of fascinating berrying trees and shrubs, some quite rare which has interest all year round.
Most recently she has created from dereliction a contemporary, formal garden in the old kitchen garden. This bold garden makes use of pleached pears, beech hedging, yew and lawn as well as a massive arched colonnade of leylandii to divide the 5-acre walled garden. The four quads feature large terracotta jars of Spanish and Greek origin set amongst grasses, a large earthwork mound and a theatre of yew.
At the North end of this garden is a substantial and beautiful house created from the old 18th century head gardener’s cottage and glasshouses.