Waddesdon Manor – opulent, ostentatious and over the top

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The fountain at the centre of the parterre was originally made for an Italian palace in Colorno.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

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!

Wedding Cake – a temple of love in the English countryside

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.

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.