Buildings, architecture & the built environment

One of the good guys – Robert Owen at New Lanark

Posted on by Platypus Man

For most British people, the early decades of the Industrial Revolution were a grim time to be alive. Conditions were horrendous. Workers routinely had to labour for 12 to 14 hours per day in harshly managed and often dangerous factories, for which they received a pittance in pay that was barely enough to cover basic necessities. And when they got home from their workplaces things got no better, as these workers usually lived in cramped, cold and insanitary accommodation provided by bosses who were motivated solely by the pursuit of profit.

Mill 3 replaced an earlier mill destroyed by fire in 1819. It now houses the site’s main exhibitions, including working mill machinery.

Let’s be honest, some early captains of industry were monsters who cared nothing for the welfare of the men, women and children upon whose lives they impacted. But not all of them. New Lanark in Scotland was proof that there were workable alternatives to rampant, exploitative capitalism.

The “new buildings” were constructed by David Dale as millworker’s housing in 1798. Robert Owen enlarged them as the village size increased.

Founded in 1785, New Lanark is a village in southern Scotland clustered around several cotton mills that harnessed the power of the River Clyde. Under the direction of joint founder David Dale (1739 – 1806), this was an entirely new settlement, built as accommodation for the millworkers and their families. New Lanark thrived. Within a decade of its foundation the village was home to one of the largest and most important cotton mill complexes of its period, employing around 1,500 people.

Prior to his involvement with the New Lanark project, Dale was a prosperous Glasgow-based cloth merchant. He was also a man with a conscience, someone whose philanthropic tendencies tempered, to some degree, his capitalist instincts. This was evidenced by his treatment of the orphan apprentices who worked at his mills – Dale ensured they were taught to read and write, were well fed, and were provided with clothing and decent accommodation.

Although the accommodation it provided was decent by the standards of the day, in the early years of New Lanark whole families lived in a single room.

In 1799 Dale’s daughter Caroline married Robert Owen (1771 – 1858), a Welsh-born industrialist and social reformer. Soon after, David Dale sold New Lanark to his new son-in-law, who formally took over as mill manager in 1800. Owen was committed to continuing the philanthropic approach to industrial working that Dale had initiated, and under his management New Lanark became a model community, emphasizing social welfare and improved living conditions for workers.

Robert Owen was a Utopian social reformer, who aimed to create a perfect, harmonious society in which poverty and unemployment were eliminated. Owen’s abilities as a business manager were central to the success of his social experiment, for it was the profitability of the cotton mills that provided the cash needed to finance schemes designed to improve the lives of his workforce. A vibrant and resilient community was central to his thinking.

Robert Owen’s School for Children was completed in about 1818, providing spacious classrooms for its students. Punishment was not allowed, with strategies of encouragement and kindness being adopted instead.

Owen’s intentions can be discerned from the creation of the Institute for the Formation of Character. Opening in 1817, it was intended to provide educational and recreational facilities for the whole community. Amongst these were a library and reading room, classrooms and halls for concerts and dancing. It also accommodated what is thought to be the world’s first nursery school.

These two photos offer a glimpse the types of mill machinery in use at New Lanark.

About a year after the opening of the Institute, work was completed on Robert Owen’s School for Children. Here’s what the New Lanark Trust has to say about this visionary initiative:

Owen spared no expense in building and equipping his school, and the curriculum included music, dancing and singing, as well as art, natural history, geography and world history. Punishment was not allowed. Instead, kindness, encouragement, and the fostering of children’s natural curiosity were deemed to be much more effective. [Source: New Lanark Heritage Trail – A guide to New Lanark’s Historic Buildings, 2008]

Owen’s idealism is also apparent from the way he set up his Village Store, which was completed in 1813. It effectively had a retail monopoly in the village, and many other industrialists used such arrangements to their financial advantage by providing poor quality goods at inflated prices. In contrast, Owen put the community’s welfare first, buying good quality food and household goods in bulk, and selling these to his workers at close to cost price. Any profits made were re-invested in the village, being put towards the running costs of the School.

Another view of Mill 3.

Robert Owen was clearly one of the good guys, and his enlightened methods attracted international attention. In 1824 he sold the New Lanark mills and moved to the USA, where where he planned to establish a Utopian Community or “Village of Unity and Mutual Cooperation” based upon the principles that had helped shape his grand Scottish project. However this experiment, based at the settlement of New Harmony in Indiana, proved largely unsuccessful and in 1828 he returned to the UK, financially much poorer but still optimistic that one day the rest of the world would come round to his way of thinking.

Owen’s legacy is now preserved by The New Lanark Trust, which was formed in 1974, six years after the final closure of the cotton mills. The village was one of the earliest examples of a planned settlement, where layout, housing design, and green spaces were carefully considered. Its architecture showcased a blend of practicality and aesthetics, emphasizing functionality while maintaining a pleasant environment. All of this can be enjoyed by visitors, who also have an opportunity to get up close to some of the machinery that drove the success of New Lanark’s cotton mills. Tourists can even visit Owen’s modest house, as well as examples of workers’ accommodation.

Although larger and grander than the homes of his workers, Robert Owen’s house is refreshingly modest for the owner of such a large and successful mill complex.

The Trust’s aim has been to restore the village as a living, working community, but one which also offers visitors tantalising glimpses of a lost world shaped by a remarkable man. A measure of its success was evident in 2001, when New Lanark was listed as a UNESCO World Heritage Site. The village and its cotton mills are now a major tourist attraction, and deserve to be visited by anyone with an interest in industrial history.

Waddesdon Manor – opulent, ostentatious and over the top

Posted on by Platypus Man

I have often written on this blog about our visits to some of the UK’s grand houses, houses that are hundreds of years old and oozing with history. You might assume that all our great domestic properties have a pedigree dating back many centuries, but you’d be mistaken. Some of them are much younger; Waddesdon Manor, at less than 150 years old, is one of the new kids on the block. Despite that – or maybe because of it – Waddesdon is one of the most opulent and ostentatious of them all. But it’s a bit over the top, in my humble opinion.

Rear view of Waddesdon Manor. The bedding plants on the parterre are changed each spring and summer.

Waddesdon Manor is located in the Buckinghamshire village of Waddesdon (no surprises there, I guess!), around 50 miles (80 km) north-west of London. It was constructed between 1874 and 1889 at the behest of Baron Ferdinand de Rothschild (1839-1898), a member of the enormously wealthy Austrian banking family.

The fountain at the centre of the parterre was originally made for an Italian palace in Colorno.

In 1874, Rothschild – known as “Ferdy” to his sister and close friends – bought the Waddesdon agricultural estate from the Duke of Marlborough, with money he’d inherited from his father. He’d come across it when fox-hunting in the area, and clearly saw its potential. The estate had no house, park or garden at that time, and therefore offered Rothschild a blank canvas upon which to impose his will.

Front elevation of Waddesdon Manor (sadly in shadow, but at least the more attractive rear view – including the parterre – was well lit!)

Said to be as much at home in Paris as in London, Ferdy was an ardent Francophile. His vision for Waddesdon was to build a magnificent mansion in the neo-Renaissance style, copying features from several of his favourite French chateaux. And he was also keen on giving Waddesdon an unforgettable garden, including a parterre (a symmetrical, formal garden design with intricate patterns), a colourful and fragrant rose garden, a serene water garden and an aviary of epic proportions.

Ferdy was very fond of birds. This cast iron aviary was erected in 1889 to house his collection.

Given his wealth, it is to be expected that Ferdy would spare no expense in fulfilling his dreams at Waddesdon Manor. More surprising, perhaps, is the fact that he never intended to live there permanently. His plan was to use Waddesdon simply as a summer weekend retreat, a place where he could entertain high-society guests and show off his vast, priceless collection of art and antiquities.

The Grey Drawing Room, to which lady guests retired after dinner!

Baron Rothschild was clearly an intelligent, well-educated man, and must have been familiar with concepts such as modesty, moderation and self-restraint. Plainly, however, he thought they shouldn’t apply to him!

Ferdy’s “Renaissance Museum” was once housed in this corner room

The great and the good – as they no doubt liked to think of themselves – were Ferdy’s guests at Waddesdon. Even Queen Victoria and the future king Edward VII spent time there, thus reassuring a man of Austrian heritage and born in France that he’d made the grade as a fully fledged English gentleman.

The Organ Clock is Dutch, and dates from c1775

After Ferdy’s death in 1898, Waddesdon passed through the hands of two other members of the Rothschild family before, in 1957, it was bequeathed to the National Trust. At last, some 83 years after the project was born, ordinary members of the public were able to visit the property, to view the stunning art collection, and to witness at first hand how the other half lives!

Left: The Red Drawing Room. Centre: The East Gallery. Right: The Baron’s Room.

Unusually, unlike most National Trust properties, at Waddesdon the donor’s family continues to manage the house and to invest in it through the Rothschild Foundation. And it was through the financial support of the family that the stunning Wedding Cake art installation by Portuguese artist extraordinaire Joana Vasconcelos – which I wrote about in an earlier post – found its way to Waddesdon.

The dining room seats 24, just enough for one of Ferdy’s famous house parties

Waddesdon is extraordinary. The “three Os” sum it up perfectly – Opulent, Ostentatious and Over-the-top. I’m pleased we finally got around to visiting it last year. On the one hand it’s a truly magnificent creation, breath-taking, almost surreal. Definitely worth the entrance fee.

Automaton elephant clock, made in London in 1770

But on the other hand, Waddesdon is just a bit too much. It’s reminds me of being back at school, of that annoying kid sitting at the front of the classroom, the kid who was always waving their hand furiously in the air to attract teacher, making it abundantly clear that he (or she) was much, much better than the rest of us. You remember that kid, don’t you? Well, Waddesdon’s a bit like that, full of itself, boastful in the extreme, bling on steroids!

Round tower churches – a picturesque part of the Norfolk landscape

Posted on by Platypus Man

Later this month, if things go according to plan, we’ll be off to Norfolk to spend a few days in one of our favourite parts of the country. Norfolk is a peaceful, rural county, a great place to get out into nature and enjoy some serious birdwatching. But it also boasts a distinctive – some would say quirky – style of church architecture.

St Margaret’s church, Burnham Norton, is one of the oldest of Norfolk’s round tower churches. It dates from the late Saxon period, around 1,000 years ago.

Although church attendance has plummeted in recent times the buildings themselves are mostly still there. Church towers, often topped off with a cone-shaped spire, remain a familiar part of the English landscape, particularly in rural areas.

St Mary’s church, Roughton. Again, the tower dates from the late Saxon period, around 1,000 years ago.

Historically speaking, church towers have been the tallest and most impressive structures in most long-established settlements. They typically housed bells that could be rung to mark important events, and to call the faithful to worship. The dominating presence and high cost of such towers was a source of local prestige, and emphasised the importance of the church within the community.

St Andrew’s church, West Dereham. The stone-built section of the round tower, which has the widest diameter of any in Norfolk, dates from C12. It is topped off by a brick-built bell section, which was added in C16.

In most parts of the country church towers are square. There are reckoned to be only around 180 English churches with round towers, nearly all of them in Norfolk (70%) and the neighbouring county of Suffolk (23%). Why round churches were built here in large numbers remains a matter of fierce debate.

St Andrew’s church, Ryburgh. The bulk of the tower is C12, with some evidence of earlier work. The octagonal bell section was added in C14.

Norfolk and Suffolk are on England’s east coast, and some experts argue that, because round towers are better able to resist attack than square structures, they were built to bolster local defences against Viking invaders. It’s a romantic notion, but implausible given that most round tower churches date from after the Viking invasions.

St Andrew’s church, Letheringsett. The lower part of the tower dates from C11, and the bell section was added in C14. When bell sections were added to round towers these were usually octagonal, but in this case it is round, matching the rest of the tower.

Another theory suggests that the round towers were an inevitable consequence of local geology, which meant that the stone available to church builders was not well suited for building load-bearing walls that joined at right angles. Again this seems fine until we recognise that other buildings in the same area dating from the same time were indeed constructed with walls that met at right angles.

St Mary, Beachamwell was one of Norfolk’s earliest round tower churches, dating from early C11. We visited in 2017, when we admired the tower and the fine thatched roof. Sadly, 5 years later, it was destroyed by fire.

Other experts suggest that it was simply a matter of fashion, and that visitors from mainland Europe who crossed the North Sea to Norfolk and Suffolk brought the design with them. Once more, the evidence for such an assertion is thin on the ground.

St Andrew’s church, East Lexham. This unsophisticated round tower is perhaps the oldest in Norfolk. It dates from the Saxon period, possibly around 850AD.

I guess we’ll never know for certain why Norfolk has so many round tower churches, although that won’t stop “experts” and other random nerds banging on about it ad nauseam. And does it it really matter anyway?

St Margaret’s church, Hales, a thatched building under the care of the Churches Conservation Trust. A detailed guide to Norfolk round tower churches by Lynn Stilgoe and Dorothy Shreeve says it “is probably the nearest one can get to the original appearance of an early round tower church.”

The fact is that the round towers are there, and are a picturesque addition to the local landscape. I guess most Norfolk residents take them for granted, but to visitors like Mrs P and I they are important, helping to give this part of the country its unique “feel.” When we drive past a round towered church, we know we’re on holiday!

St Andrew’s church, Wickmere
St Lawrence’s church, Beeston

Mrs P is so taken by Norfolk’s round tower churches that she has vowed to photograph every one of them. She still has lots more to track down, many of them in tiny, almost forgotten villages lost in the middle of nowhere in this remote rural county. It’ll take a couple more visits before we can finally declare the project to be completed; meanwhile, this post is illustrated by photos of a few of the more interesting examples that we’ve visited so far.

Dunrobin – a fairy tale castle

Posted on by Platypus Man

No trip to Scotland is complete without visiting a castle. Last year, on our way north to Orkney, we did just that when we broke our journey at Dunrobin, which has been home to the Earls and Dukes of Sutherland since the 13th century. Boasting no fewer than 189 rooms, Dunrobin Castle is the largest great house in the Northern Highlands. It is also one of Britain’s oldest continuously inhabited houses, dating back to the 13th century.

Although vestiges of the early medieval castle remain, they are today buried deep within a much larger and grander structure. A series of extensions over the centuries have transformed the original fortified tower into something altogether different, something apparently straight out of a fairy tale.

One of the men most responsible for the Dunrobin we see today was architect Sir Charles Barry (1795 – 1860), who oversaw a massive remodelling exercise in the mid-19th century. Under Barry’s guidance, Dunrobin morphed into a grand house in the then-fashionable Scottish Baronial style, similar to that adopted at Queen Victoria’s Balmoral residence. 

Barry had a big national reputation. Amongst numerous other accomplishments, in 1836 he won a commission to design the new Palace of Westminster (Houses of Parliament) in London. The Duke of Sutherland’s great wealth and extensive social connections are clearly evidenced by his ability to secure Barry’s services at Dunrobin.

As it happens, that wealth was generated to some considerable degree through the forcible eviction of many thousands of estate tenants during the notorious Highland Clearances. This is something that should, I feel, give visitors pause for thought when they murmur appreciatively at Dunrobin’s undoubted magnificence. The cost of Dunrobin should properly be measured not just in financial terms, but in human terms too.

Dunrobin Castle had an eventful time in the 20th century. In 1915 much of the interior was destroyed by a huge fire, so what we see inside today is largely the work of Scottish architect, Sir Robert Lorimer (1864 – 1929) rather than Charles Barry. Despite the fire, parts of the castle were used as a naval hospital during the First World War, then, later in the century between 1965 and 1972, it was used as a boys’ boarding school. 

Today no trace of the school remains, and instead visitors are offered glimpses of an opulent lifestyle that is almost certainly beyond their reach. The formal gardens are also rather grand, and are another part of Sir Charles Barry’s legacy. They are arranged into two parterres, both laid out around circular pools where fountains playfully splash. The layout of the gardens has changed little since they were planted more than 150 years ago, although new plants are constantly being introduced.

Barry took his inspiration from the Palace of Versailles in Paris. That the Duke of Sutherland was prepared to commission and bankroll such a project in this remote, windswept corner of the Scottish Highlands speaks volumes about his cultural awareness and social ambitions. Visionary? Pretentious? Completely out to lunch? You’ll have to make up your own mind on that one!

Although Dunrobin Castle is impressive and its formal gardens are majestic, I have to confess that the most memorable part of our visit was the falconry display. Falconry is the ancient art of hunting with birds of prey, and for reasons that aren’t entirely clear Dunrobin puts a show every day. No actual hunting takes place, but the birds – including Peregrines, Gyr Falcons and Harris Hawks – are exercised on the Castle lawn, under the watchful eye of the resident and highly knowledgeable falconer. 

The birds are given the opportunity to fly around freely and do so with obvious pleasure, often whizzing just above the heads of an enthralled audience. In the end, however, the birds always return to the falconer, secure in the knowledge that he’ll be providing dinner once the show is over! It’s highly unusual to be able to get so close to birds of prey, and as they were bred in captivity and are plainly well cared for we had no qualms in watching and applauding the show.

_ _ _ _ _ _ _

What, then, is the overall verdict on our visit to Dunrobin Castle? Perched on a high terrace and bristling with fairy tale spires and turrets, the castle sits somewhat incongruously within the Scottish Highlands’ landscape. It is a relic of another age, an age when great wealth and all the opportunities that went with it was concentrated in just a few fortunate hands. The splendid gardens and the falconry display add to this other-worldly feeling, making a visit to Dunrobin a somewhat surreal experience. It’s a fascinating place to spend a few hours, but don’t make the mistake of thinking this place has anything to do with the real, 21st century world!

A good year for windmills

Posted on by Platypus Man

Have I mentioned that Mrs P is fascinated by windmills? She grew up in a village just a few minutes drive from here, a village that boasts a highly unusual six-sailed windmill that I wrote about in this post a couple of years ago. I guess it was this magnificent structure that fired her interest in all windmills, wherever they are. And so it is that, whenever we’re travelling about the country, we seek out and visit any windmills in the neighbourhood. Last year, 2023, was a good year for windmills! 

Chinnor windmill, Oxfordshire

Perhaps I should clarify what I mean by a windmill. Encyclopaedia Britannica defines it as a “device for tapping the energy of the wind by means of sails mounted on a rotating shaft.” I understand this to mean that windmills power machines used to process a range of materials, including the milling of grain into flour, the sawing of timber and the manufacture of goods such as paper and paint. 

Jill windmill, Clayton, West Sussex

These days, however, “windmill” is also used in some quarters to describe those towering, gleaming edifices used to generate electricity from wind power. Most people I know refer to the latter as wind turbines, and although we have no problem with them (in the right place!), they all look pretty much identical and have nothing to recommend them in terms of their individual character or history. To be absolutely clear, Mrs P and I do not spend our days out visiting and taking photos of wind turbines…we may be a little bit eccentric, but we’re not totally out to lunch!

Ovenden windmill, Clayton, West Sussex

In terms of their history, windmills have been around for over a thousand years. The earliest written references are from Persia – now Iran – in 644 AD and 915 AD. The use of windmills in Europe expanded rapidly from the 12th century onwards, and they remained a visible and vital part of the landscape until the early 20th century. Today they have little practical value, but as reminders of a simpler, lost world they have many fans. Across the country nostalgic groups of windmill enthusiasts work hard to maintain many of those that still survive, much to the delight of Mrs P.

Left: Chailey windmill, East Sussex. Middle top: Berkswell windmill, West Midlands. Middle bottom: Oldland windmill, Keymer, West Sussex. Right: Brill windmill, Buckinghamshire

An interesting example of this enthusiasm is Chinnor Windmill in the county of Oxfordshire. Built in 1789 as a flour mill, it was abandoned in 1923 and finally condemned in 1967 to make way for a housing development. However, someone involved with this decision had the foresight to recognise that future generations might be interested in this local landmark, so instead of outright demolition the mill was dismantled and some of its components put into storage.  Forgotten for many years, the pieces of old windmill were rediscovered in 1980 and plans were set in motion to rebuild it a short distance from its original location. As Mrs P’s photo shows, this was good decision!

Left: Hawridge windmill, Cholesbury, Buckinghamshire. Middle: Lacey Green windmill, Buckinghamshire. Right: Herstmonceaux windmill, East Sussex.

The “Jill” Windmill at Clayton in West Sussex is another fine example of a restored windmill. First built in 1821, it ceased operation in 1906 and was badly damaged by wind two years later. Basic restoration was carried out in 1953, and in 1978 work was undertaken to restore it to full working order. Flour produced by the mill is sold to visitors on Sundays, when it is opened to the public.

Left: Green Ridge windmill, Patcham, West Sussex. Centre left: West Blatchington windmill, Brighton West Sussex. Centre right: Ringle Crouch Green windmill, Sandhurst, Kent. Right: Stone Cross windmill, East Sussex

Ovenden Windmill in Polegate, East Sussex survived longer as a commercially active mill. Built in 1817, the mill continued to be wind powered until 1942. It was then powered by an electric motor until it ceased operation in 1965. At this point it was bought by a Preservation Trust, which set about restoration work. The windmill’s future now appears secure, but sadly members of the public are no longer able to enter it as the floors in the tower have been deemed unsafe. Hopefully, one day, they will raise enough money to sort out the problem, but until then visitors will have to be content with viewing the windmill from the outside only.

Left: Rottingdean windmill, East Sussex. Top right: Quainton windmill, Buckinghamshire. Bottom right: Kings windmill, Shipley, West Sussex

Each windmill in today’s landscape has its own unique history and challenges. Mrs P took photos of nearly 20 new windmills last year. It seems like a lot, but there are still hundreds more to track down, scattered up and down the country. That should keep us busy for a few more years!

Burton Constable Hall celebrates Christmas

Posted on by Platypus Man

Many of the UK’s grand stately homes rely on entrance fees to pay for their upkeep. And their owners have long recognised that a few random yuletide decorations, plus the occasional fir tree draped in flashing lights, are a sure-fire way to boost winter visitor numbers and income. After all, we Brits are creatures of habit – we’ve seen all of this a hundred times before but, what the hell, it’s the season of goodwill so we’ll gladly pay to see it again somewhere else. And so it was that this year Mrs P and I ended up at Burton Constable Hall. 

Located in a sparsely populated corner of East Yorkshire, Burton Constable Hall dates from the mid-16th century. A couple of hundred years later it had become unfashionable, and so was substantially redesigned and rebuilt in the 1760s by owner William Constable (1721-1791) to give us the building we see today.

The exterior of the Hall is impressive, but not nearly as spectacular as its interior. Some of the stately homes we have visited over the years at Christmas have gone so overboard with their seasonal decorations that the rooms themselves have almost become invisible. You could be anywhere, with the merits of the buildings becoming lost beneath a mound of gaudy yuletide bling.

Fortunately this was not the case at Burton Constable, where the grand rooms remained the stars of the show. The Christmas trees – often tucked away unobtrusively in corners – and other decorations we encountered were well executed without being excessive, discreet seasonal additions that in no way detracted from the Hall’s Georgian elegance.

Having said that, we look forward to returning at another time of year, when Christmas is but a distant memory, to focus exclusively on Burton Constable’s history, architecture and design. This is an exceptional building, regardless of the season of the year, and deserves to be better known than appears to be the case.

And with that, it’s time for me to sign off for 2023 by thanking anyone out there who ever reads or comments on this blog. Your continuing interest has helped keep my spirits up throughout another challenging year. It’s my absolute pleasure to wish you a Merry Christmas, and Happy & Healthy New Year. See you in 2024, guys!

Peter Pan, Castle Howard and Christmas

Posted on by Platypus Man

By late November Christmas is already impossible to avoid. Television channels are boasting endlessly about their holiday schedules. Shops are groaning under the weight of seasonal goodies. A yuletide wreath, laden with holly and ivy, is proudly displayed on a neighbour’s front door. And in stately homes up and down the land the Christmas lights and decorations are going up, sending their electricity bills through the roof. But no worries – we, the paying public, will cover the cost!

Castle Howard is a grand stately home in North Yorkshire. Dating from the 18th century, it’s said to be one of England’s finest historic houses, set in a parkland dotted with lakes, fountains, temples and statues. Twelve months ago we were fascinated by a television programme revealing the extraordinary lengths to which its owners go to attract hordes of additional visitors during the Christmas season, so this year we vowed to check it our for ourselves.

Every year Castle Howard selects a new theme for its Christmas celebrations, and in 2023 it is Peter Pan’s turn to put on a show. Here’s what the visitor guide has to say about it:

This year we fly to Christmas in Neverland, entering the world of J M Barrie’s boy who never grew up. It’s a world of sparkles and shadows, of pirates and mermaids, of shaggy dogs and Darlings, where dreams and reality fade imperceptibly from one to the other. Where better to find the story of daydreams made real than in the fantastical surroundings of Castle Howard?

Source: Printed guide for visitors to “Christmas in Neverland” at Castle Howard

Wow, they don’t lack ambition, do they? And modesty’s clearly not their strong point either! But is all this hype justified by the reality of Castle Howard’s extravaganza? Read on and find out.

Sadly, things don’t start well. We’ve already bought timed tickets over the internet, which should allow us to walk straight in at our allotted hour. But when we arrive queues are snaking out of the entrance into the courtyard, and it’s 30 minutes or more before we can get out of the cold and begin our tour.

My cynical outlook on life quickly leads me to conclude the underlying problem is greed, too many tickets sold in a feverish attempt to make as much money as possible. As it happens, a friendly member of staff suggests the problem is a coach full of visitors that has arrived late and thrown the rest of the day’s schedule into disarray. Hmm, OK, sounds plausible…maybe.

But anyway, all things must pass, and in due course we get into Castle Howard and begin our exploration of Neverland. And now I have a confession to make…Peter Pan’s never appealed to me! Don’t know why, but the concept of a perpetual child, his fairy companion and random pirates, Lost Boys and crocodiles leaves me cold.

On the deck of the Jolly Roger, Captain Hook’s pirate ship

So although a series of more than a dozen extravagantly dressed rooms and other spaces are designed to take the visitor chronologically through the Peter Pan story, it doesn’t really work for me as I’ve never read the book or seen the film. I must therefore judge what we see at Castle Howard simply as a visual spectacle, regardless of the links to J M Barrie’s tall tale.

The mermaid’s bedchamber

As it happens, the spectacle is, well…spectacular. Although I don’t know the story I can appreciate the tableaux depicting it, including a bath-time scene, the deck of a pirate ship, a mermaid’s bedchamber and a dining table set out with a lavish Christmas feast.

Bath time!

With a nod in the direction of the Disney movie, there are also some action scenes created through the projection of moving shadows on to brightly lit walls and ceilings. These include the fairy Tinker Bell flitting hither and thither, and Peter Pan and the evil pirate Captain Hook fighting with cutlasses. It’s all very entertaining, enthralling visitors both young and old. At one point an enormous shadow crocodile appears out of nowhere and snaps his jaws at the horrible Hook. Go on my son, do your worst!

The cutlass fight between Captain Hook and Peter Pan, cleverly depicted in moving shadows

Clearly, no expense has been spared to create a festive atmosphere in Castle Howard’s Neverland. Coloured lights and lavish decorations abound, just what we need to get us in the mood for Christmas. And that’s what it’s all about, isn’t it. The world’s in a bad way right now, and an afternoon’s innocent escapism offers a welcome break from the relentless torrent of bad news that threatens to drown us all.

Table laid for the Lost Boys’ feast

Well done, Castle Howard, for this brave attempt to raise the spirits of your visitors. Even the queues didn’t spoil our day there – it’s the season of goodwill, after all, so I’ve forgiven you! But we must make a return trip at another time of year, so we can fully appreciate the house itself without being distracted by all that gaudy Christmas bling.

Wedding Cake – a temple of love in the English countryside

Posted on by Platypus Man

Portuguese artist extraordinaire Joana Vasconcelos has been at it again. I’ve written previously about her wonderful sculptural pieces, so when we read about the 12m high, three-tiered Wedding Cake installation she’s created at Waddesdon Manor in the English county of Buckinghamshire we were determined to check it out. We weren’t disappointed.

Vasconcelos describes Wedding Cake as “a temple of love”. The art, design and architecture website Wallpaper puts it this way:

Part sculpture, and part architectural garden folly, Wedding Cake is an extraordinary, gigantic, fully immersive sculpture that fuses pâtisserie, design and architecture.

Source: Wallpaper website, retrieved 23 October 2023

Wedding Cake is without doubt the Lisbon-based artist’s most ambitious work to date, baking in the oven of her imagination for more than five years. Clad in over 25,000 gleaming, icing-like ceramic tiles, the installation also boasts a vast array of ornaments in various forms, including mermaids, angels, candles and globes. Water spurts playfully from the mouths of dolphins, alongside ceramic cupids disporting themselves mischievously all around the circumference of this absurdly captivating creation.

The exterior is breathtakingly eye-catching, but there’s more. Stepping through intricate iron scrollwork doors, the visitor enters a colourful pavilion, a wedding chapel in which eight sky-blue columns bedecked in yellow stars support a domed ceiling designed to create the illusion of looking up at the sky. Its walls also feature sculptures of Saint Anthony, the patron saint of marriages and good luck, who was born in Lisbon.

Inside the pavilion, statues of St. James, patron saint of weddings and good luck, carrying a child in his arms

As if one floor were not enough, ornate spiral staircases lead up to the second and third “tiers” of the cake, which offer new perspectives on Wedding Cake and the woodland grove in which it sits.

Inside the pavilion, ground floor
Spiral staircase leading from the 2nd to the 3rd tier

Here’s what Vasconcelos has to say about Wedding Cake –

“Many wedding cakes have pillars, columns, and tiers. In a way, my sculpture is about the relationship between these two worlds—pastry and architecture—that are not normally connected.”

Source: Quoted in the Vogue website, retrieved 24 October, 2023

Vasconcelos is clearly a creative eccentric. Fair to say, I’ve never seen anything quite like Wedding Cake before, nor do I expect to again. It’s definitely a one-off, a wacky, pastel-coloured masterpiece that is both preposterous and strangely compelling. Disappointingly, the reactions of fellow visitors were mixed. While some, like Mrs P and I, were blown away by the audacity of her creation, others weren’t convinced. “It’s too pink” said one woman, shaking her head vigorously and defying anyone to disagree with her.

Too pink? Duh! Can anything be too pink? I don’t think so. Just ask Barbie!.

Too pink? I don’t think so!

Meanwhile, another visitor was moaning that Wedding Cake wasn’t at all what she’d expected. “Didn’t you do a bit of research and look at some photos of it before you decided to come along?” I asked sweetly.

“Yes, of course” she replied, regarding me as if I’d just crawled out from under a stone.

“And doesn’t what’s in front of you look just like what you saw in those photos?” I continued, the picture of innocence.

“Yes, but it’s not what I expected.” Oh dear, sometimes I despair, I really do! One of the purposes of art is to stimulate the imagination and encourage conversation, but there are some conversations I’d simply rather not have.

But hey, everyone – however weird! – is entitled to an opinion. And my opinion is that Wedding Cake confirms Joana Vasconcelos to be an artist of rare ambition and talent. I look forward to seeing more of her work in the future.

St Magnus Cathedral and Orkney’s turbulent Viking spirit

Posted on by Platypus Man

Set in the heart of Kirkwall, St Magnus Cathedral dominates the skyline of Orkney’s biggest town. Built from distinctive red and yellow sandstone, construction began in 1137, with major additions following in the early 13th and late 14th centuries. Its foundation reflects Orkney’s turbulent Viking spirit.

At the time, Orkney was ruled, and largely inhabited, by Scandinavians. Norsemen first came to Orkney in the late 7th century, and the number of arrivals rose rapidly over the next 100 years.  Some came to farm, while others simply used the Orkney islands as a base from which to launch Viking raids on other coastal communities in Scotland and beyond.

By the early 12th century Orkney was part of the kingdom of Norway, ruled on behalf of its king by joint earls Magnus Erlendsson and his cousin Haakon Paulsson. This arrangement worked well for several years, until their followers began to quarrel. In 1118 Magnus was captured and executed by Haakon’s men.

After a few years Magnus was canonised, making him a saint of the Roman Catholic church. In 1137, Magnus’s nephew Rognvald commissioned a ‘fine minster’ to be built at Kirkwall in honour of his late uncle. Magnus’s remains were later re-interred in one of the columns of the cathedral, and lie there to this day.

St Magnus Cathedral is a striking achievement, a fine building in the Romanesque style with later Gothic embellishments, and boasting particularly fine vaulting in the nave. It is one of the oldest cathedrals in Scotland, and the most northerly in the whole of the United Kingdom. But perhaps not for much longer! Many residents of Orkney, particularly their leaders, believe their island home has been unfairly treated by both the UK and Scottish governments. They are calling for more autonomy.

One idea under consideration is that Orkney, which has a population of just 22,000, should quit the UK – and therefore Scotland – altogether, and become a self-governing territory of Norway! To be honest, even if a majority of Orcadians voted in favour I think it’s highly unlikely the British government would ever allow this to happen.

However, that such an audacious proposal has been voiced at all is an indication that feelings are running high. Orkney’s turbulent Viking spirit clearly survives to this day. But St Magnus himself was known as a pious man, a man of peace, hope and reconciliation, someone who prayed for the souls of the men about to execute him. I wonder how he would feel about these extraordinary developments?

Inspirational and serenely beautiful – Orkney’s Italian Chapel

Posted on by Platypus Man

Returning to the Orkney islands after a gap of seven years there were many places I was anxious to revisit. Right at the top of my list was the Italian Chapel, an unlikely outpost of the Roman Catholic Church located on a remote, windswept Scottish island. It is serenely beautiful, and the story of its creation is truly inspirational.

Scapa Flow, a body of water sheltered between several of Orkney’s islands, is one of the world’s great natural harbours. As such it was the UK’s foremost naval base during the First and Second World Wars.

To give added protection to naval vessels anchored there it was agreed late in 1939 that barriers should be constructed to block off the four eastern entrances to it, while simultaneously linking up several islands with a causeway. The man who made that decision was Winston Churchill, at the time the First Sea Lord and later the UK’s victorious wartime Prime Minister. The barriers now bear his name.

From a military perspective it was a thoroughly sensible decision, given that German submarines had proved themselves adept at sneaking into Scapa Flow and attacking British warships. However, constructing the barriers was more problematic, not least because of a shortage of local manpower to do the heavy lifting.

The solution, it became apparent, was to send in some Italians. The Italian army had been having a difficult time in North Africa. Many thousands of its troops had been captured, so sending a few hundred of these wretched captives to Orkney to help with the construction of the Churchill Barriers must have seemed like an opportunity too good to miss.

And so it was that around 500 Italians found themselves in Camp 60 on the tiny (40ha / 98 acres), uninhabited Orkney island of Lambholm. It was not a pleasant experience, and not just because – as prisoners of war – the men were expected to put in long days of hard physical labour with no prospect of a decent meal, a glass of wine or female company at the end of it:

“The little island could hardly have appeared more desolate: bare, foggy, exposed to the wind and heavy rain. The camp consisted of thirteen dark, empty huts, and mud.”

Domenico Chiocchetti, quoted in The Italian Chapel: Orkney’s Sanctuary of Peace

From the end of September 1943, the prisoners’ spiritual needs were overseen by a camp priest, Padre Gioachino Giacobazzi. It was he who suggested that their welfare might be better served if their British guards enabled the provision of a chapel. To their credit the British agreed to this, allowing the prisoners to take over – and bolt together – two Nissen huts for this purpose.

Wikipedia tells us that a Nissen hut “is a prefabricated steel structure originally for military use, especially as barracks, made from a half-cylindrical skin of corrugated iron”. This doesn’t sound like a promising starting point for the creation of a place of worship, but what the Italian prisoners achieved with their huts was extraordinary.

Having bolted together the two huts end-to-end, the first task was to ensure they could withstand Orkney’s challenging weather. This was achieved by applying wire ‘bolster’ nets and copious quantities of concrete along the whole length of the structure. Once they were sure the exterior of the huts was weathertight, the prisoners could move on to line the interior of the corrugated walls with plasterboard. This created a smooth surface capable of being transformed into something resembling a “normal” chapel.

The Madonna of the Olives. “Mother of Peace Pray for Us”

Fortunately for the success of the project, one of the prisoners was a talented artist with relevant training and experience. Domenico Chiocchetti was born in May 1910, the youngest of 12 children. Coming from a poor family he had no opportunity to attend art college, but instead managed to get an apprenticeship to train as a church painter. The skills he developed at this time were invaluable on Orkney, where he came up with the design of the chapel and its artwork, and supervised its internal decoration..

Chiocchetti was personally responsible for painting the exquisite sanctuary end of the chapel, including the altarpiece which he based on Nicolo Barabino’s Madonna of the Olives. When he went off to war Chiocchetti’s mother gave him a prayer card bearing a copy of Barabino’s work, and it was this image that he used as his inspiration for the painting. The Madonna is pictured holding the Christ Child, who has an olive branch in His hand. Appropriately, given the circumstances in which Chiocchetti created this piece, the Latin phrase that surrounds them reads ‘Regina Pacis Ora Pro Nobis’ – ‘Mother of Peace Pray For Us’.

Ceiling detail

Other tradesmen also played an important part in the creation of the chapel, including Giuseppe Palumbi, a blacksmith, and Domenico Buttapasta, a cement worker. The prisoners used whatever materials were to hand to further the project: the altar and altar rail, for example, were made out of concrete left over from work on the barriers, lamp holders were made out of corned beef tins and the font was fashioned from the inside of a car exhaust covered in a layer of concrete!

Chiocchetti was conscious that the ugly appearance of the exterior of the Nissen hut detracted from his creative endeavours, and gave no clue to the beauty that lay inside. Once again, concrete provided the answer, with the prisoners using it to fashion a beautiful façade, complete with bell-tower. Today, without knowledge of the chapel’s history, it would be all but impossible to guess at its humble military origins.

Internal view of the entrance end of the chapel.

Upon its completion, the chapel undoubtedly enhanced the spiritual lives of the prisoners incarcerated at Camp 60. But just as important, perhaps, its creation gave the men who built it and worshipped within it a sense of purpose and renewed hope. At what must have been the bleakest time in their young lives, the chapel offered them some reassurance that there is more to life than warfare, and that with hard work and a positive outlook nothing is impossible. Here is how one of the prisoners put it:

Nights were our worst enemy. Long nights when thoughts went back home to those we loved…Only thinking of something more nobler, more elevated, could we find inner peace and hope. So the tiny chapel came gradually into existence.”

Bruno Volpi, a POW at Camp 60, quoted in The Italian Chapel: Orkney’s Sanctuary of Peace

Orkney’s Italian Chapel is a remarkable building, all the more so for being tucked away on a remote, tiny Scottish island where, at first glance, it simply does not belong. Its serene, uncomplicated beauty and the story of how it came to be should give us all cause for hope.