Chatsworth First Floor Second Floor North Wing Gardens Good Bye Maps+Refs Read Me

Chatsworth House & Grounds

Chatsworth House has played an important part in English history. Over the centuries, its doors have welcomed monarchs, dukes and duchesses and earls and countesses. Famous architects have contributed to its construction. Famous landscape gardeners have contributed to the layout of its spacious grounds. The Great House was built to impress, and now the public at large can savour that sense of history and artistry which is Chatsworth. The public too can be impressed!

Chatsworth House: the iconic Emperor Fountain.

The Chatsworth estate has belonged to the Cavendish family since 1549. Sir William Cavendish and his wife Elizabeth (Bess) of Hardwick built the original house in 1552. After Sir William's death, Bess completed the main house in the 1560s. When Bess died in 1608, the house passed to Sir Henry Cavendish who sold it on to his brother, the future 1st Earl of Devonshire. A later William Cavendish, the 4th Earl of Devonshire (1640-1707) was created Duke of Devonshire in 1694 for services to the joint monarchs William and Mary of Orange. Essentially, the 4th Earl was made the 1st Duke in 1694 for helping to put William of Orange on the English throne. So much for the beginnings of the house and the connection with the name Devonshire. The third main phase in the history of Chatsworth House came with the extended North Wing, the work of the architect Sir Jeffry Wyatville, between 1818 and 1841. (See dates.)

Dining in Style: The Great Dining Room in the North Wing.
The table has not yet been laid, but, when it is,
I'm sure the recommendations in "Debrett's" will be duly followed!

Here you will see my first impressions of Chatsworth, a visit to which had been on my to-do list for many a year. The present pages reflect my personal impressions. These pages are NOT an official NOR - if that were ever possible - a complete guide to Chatsworth and its estate. However, you will probably find more detailed publications via my list of references or in the bookshop at Chatsworth House. From my humble perspective, there was so much to see and absorb, and I realized that no single visit could take in everything! The pictures you see here, were taken by me. In addition, the diagrams you see here, were created by me. However, as an amateur in the limited time available for the visit and the limited space available here, I have tried portray the artistic splendour that is Chatsworth. Do enjoy your browse! [Hint. For slow page scrolling, just use the scroll-wheel of your mouse.]

The visitor can see substantial parts
of the first and second floors of Chatsworth House.

We shall start by visiting the house. Parts of the first and second floors are accessible to the public. The house is first on the official agenda - otherwise known as "visitor flow". This leaves time afterwards to visit the gardens at leisure. That's how, anyway, I usually like to visit a country house, since entry to the house may be more restrictive than entry to the gardens and grounds.

First Floor

We enter the original house first. This original house has kept its courtyard at a time when this approach from mediaeval and Tudor times was losing favour. It was the 4th Earl of Devonshire, (who became the 1st Duke of Devonshire in 1694), who started to rebuild the house in 1687. Because he was at first thinking only of the State Apartments in the south wing, it seemed appropriate to stay with the Elizabethan courtyard layout which we still have today.

After the Entrance on the first floor we shall see the famous Painted Hall, leading off from which, we find other notable rooms including the Oak Room, the Chapel and the Grotto.

On the left, surrounding the courtyard, is the "original" First Floor dating from Bess of Hardwick's time, but substantially refurbished by the First Duke of Devonshire. The "North Wing" on the right (without "arrowed" names) would come much later. (See dates.)

♦  Entrance  ♦

We enter Chatsworth house to the right of the three north facing entrances, which date from between 1818 and 1841. We pass the "guard dog" to reach the visitors' entrance and the North Corridor. From here we can look into the Courtyard before reaching the Painted Hall.

One of the gated entrance portals and gates. These north facing gated entrances (one of three) date from between 1818 and 1841, being the work of the architect Sir Jeffry Wyatville, who was mainly responsible for the North Wing at Chatsworth.

A statue of a dog stands guard over the visitors as they come up to the house.
The dog looks a tad devilish. Perhaps that's what a guard dog should look like!

The north corridor leads to the Painted Hall which we shall reach shortly...

On the way we can look into the courtyard of Tudor origins (see dates)
although refurbished by the 1st Duke of Devonshire.

Before reaching the Painted Hall I espied this picture, by one Francis Solimene (Italian name: Francesco Solimena) described as "an illustrious Italian painter and poet", born near Naples in 1657. The subject would appear to be a Classical theme.

♦  Painted Hall  ♦

The Painted Hall was built by the 1st Duke of Devonshire between 1689 and 1694, and designed to impress King William III. Today, it impresses the numerous visitors, whose entrance fees help to support the Chatsworth House and Estate. The ceiling and the walls show scenes from the life of Julius Caesar. Ceiling painters had to lie on their backs. (c.f. the Sistine Chapel in Rome.)

The Painted Hall was built by the 1st Duke of Devonshire between 1689 and 1694,

Painted Hall - Ceiling
Ceiling painters had to lie on their backs.
(c.f. the Sistine Chapel in Rome.)
The ceiling and the walls show scenes from the life of Julius Caesar.

The Painted Hall was intended to impress the King. (see dates.)

Today, it impresses the numerous visitors.

The Painted Hall - view from the second floor.

♦  Oak Room  ♦

The oak panelling and columns came from a monastery in Germany, where they were bought by the 6th Duke in 1837. The monastic origins explain why some Saints and the Virtues feature in the oak decor.

The oak panelling and columns came from a monastery in Germany,
where the 6th Duke bought them.

This looks like one of the virtues, faith, hope and charity.

As befitting the monastic origins,
saints also featured in the carved extravaganza.

♦  Chapel  ♦

The chapel in the south west corner of the 1st floor was completed in 1694 by the 1st Duke of Devonshire. The ceiling depicts "the resurrected Christ in all his glory". Above the altar is a painting of "Doubting Thomas", which is flanked by alabaster statues of "Faith" and "Justice".

The chapel in the SW corner of the 1st floor was completed in 1694 by the 1st Duke of Devonshire.

The ceiling depicts "the resurrected Christ in all his glory".

Above the altar is a painting of "Doubting Thomas" (Antonio Verrio (1639-1707)), which is flanked by alabaster statues of "Faith" and "Justice" (Cibber (1630-1700)).

Chapel - Altar

Chapel - Rear "Balcony"
(for latecomers to the service/mass).

♦  Grotto  ♦

The Grotto supports the main stairs above leading from the painted hall to the second floor. However, the 1st Duke of Devonshire wanted to show off that he had both hot and cold running water at a time when very few houses had no running water at all. Hence the two fountains. (I'm not sure if the "hot" water is actually hot now - I didn't check!) The actual bathroom is next door. Pride of place here is Diana, the Roman Goddess of hunting and the countryside. Why choose Diana? She seems to have a towel over her head.

The Grotto with the Goddess Diana.

Second Floor

On the second floor we see first the Great Chamber which faces south and the daytime sun. This is followed by the "State Rooms", including the State Music Room and the State Bedroom. These also face south (and the daytime sun) and came about under the 1st Duke of Devonshire (the 4th Earl of Devonshire until 1694). The Guest Bedrooms face east (and the rising sun) and were created between 1818 and 1841, being the work of the architect Sir Jeffry Wyatville, who was mainly responsible for the North Wing at Chatsworth. Other features on the first floor include " Old Masters" as well as the Sketch Galleries. (The Sketch Galleries (W, N, S) were out of bounds to photographers on the day because they showed pictures of dogs for the "dog exhibition" and these pictures were mainly borrowed and thus potentially subject to owners' copyright.)

The second floor surrounds the courtyard and includes
the State Rooms, the Guest Bedrooms and Sketch Galleries.

♦  Great Chamber  ♦

The Great Chamber counts as a State Apartment. Its purpose was to function as a "gathering room" for those seeking an audience with their Majesties Mary II and William III. However, William and Mary never visited Chatsworth. The State Drawing Room would have been the next room (in a westerly direction) for would-be visitors to their Majesties. The Great Chamber has views on to the gardens and also gives access to the windowless Green Satin Room.

The ceiling of stairwell leading from the Painted Hall to Second Floor
shows "The Triumph of Cybele" and was painted by Verrio in 1691.

Great Chamber - Wall carving & Delft Ware in the Fireplace

Detail of Carving above the Fireplace

Great Chamber - Ceiling "Return of the Golden Age"
Celebrating William & Mary coming to the Throne.

Great Chamber - Ceiling "Return of the Golden Age"
Celebrating William & Mary coming to the Throne.
(Slightly different view.)

Great Chamber - view towards the south and the Emperor Fountain

The "Green Satin Room" is a windowless room off the Great Chamber and houses a number of paintings including this one. The name of the gentleman with the period hairstyle eludes me.

Green Satin Room. Chatsworth House seen from the east, before the construction of the North Wing. The view could therefore be some time in the 18th or early 19th century.

Green Satin Room. Chatsworth House seen from the south west (as evidenced by the just visible Emperor Fountain), before the construction of the North Wing. The view could therefore - as above - be some time in the 18th or early 19th century.

Adjacent to the Great Chamber, moving westwards, is the State Drawing Room, whose ceiling depicts "The Assembly of the Gods".

♦  State Music Room  ♦

The walls of the State Music Room are of gilded leather. The mahogany harpsichord dates to 1782. The furniture in the room was part of the extensive redecoration of Chatsworth by the 6th Duke in the 19th century, but other aspects, including the ceiling, are earlier.

State Music Room with mahogany harpsichord from 1782.
Apparently, the harpsichord is still in good condition for playing.

The ceiling (by Laguerre circa 1690) shows Phaeton begging Apollo saying, "Apollo, please let me drive your chariot". In mythology, Phaeton was the son of Helios and gave his name, in the late 18th and early 19th century, to a light four-wheel carriage usually with two horses. The Phaeton carriage was fast (possibly up to 25 mph!) and, with its open seating, dangerous!

♦  State Bedroom  ♦

This room was designed for King William III and Mary II, whom 1st Duke helped to the English throne and thus raised his own status from earl to duke (1st Duke of Devonshire). In the event, William and Mary never visited Chatsworth. The original bed was moved elsewhere to Hardwick Hall, reasonably nearby. The present bed is the death bed of George II, for whom the 4th Duke was a courtier and Lord Chamberlain. The State Bedroom is the most westerly of the State Rooms (starting with the Grand Chamber) all of which face south and were re-designed around 1694 for the visit of William and Mary.

Here is George II's splendid death bed.
The idea was that when a King dies, he should die in splendour!

In the painted ceiling by Laguerre, Aurora (Dawn) chases away Diana (the Night).

The Chandelier may have been a gift from William and Mary.

This looks like a lacquer labinet in the Chinese style. With the opening up of trade routes (sea and land) between Europe and China, Chinese products such as lacquer cabinets and porcelain were becoming popular in Europe and were espoused by the well off.

♦  Old Masters  ♦

This room specifically was arranged in 2012 to show works by pre-1800 European skilled artists otherwise known as "Old Masters". It is windowless, thus giving better protection from light than is possible in the Sketch Galleries.

Raphael, Leonardo da Vinci and Rubens?
I'll let myself be educated on this one!

This oak and ebony veneer cabinet probably came from 17th Florence. The cabinet was used to display "interesting objects". The 3rd Duke probably brought it back on his "Grand Tour of Europe". Such Grand Tours had a strong cultural dimension and were the province of the very wealthy.

On the way from "The Old Masters" to the Sketch Galleries and the Guest Bedrooms, we pass the "Sabine Room", whose ceiling we see here. I would think that the ceiling may depict "The Abduction of the Sabine Women".

♦  Guest Bedrooms  ♦

At Chatsworth, house parties with distinguished guests were definitely a known phenomenon. A number of east facing bedrooms were thus duly created between 1818 and 1841 by Sir Jeffry Wyatville when he was also busy with the new North Wing. Apparently, the bedrooms appear as they would have done in the late 19th century.

Guest Bedrooms - Corridor

Guest Bedrooms - Wellington Bedroom

Guest Bedrooms - Wellington Bedroom

Wellington Bedroom - Model of Ship
One or two sailing ships bore the name "Wellington", but I'm not sure about this one.

Wellington Dressing Room with Single Bed. (See two pictures below).

Carved detail on bed end - perhaps of Wellington's single bed.

Side Bedroom for Marquis of Normanby
There is also a main bedroom for the Marquis and Marchioness, but the side bedroom you see here was for the Marquis if he had to get up early or if he returned late and perhaps wished to avoid a "wife with rolling pin" situation.

Slightly crooked picture in one of the Guest Bedrooms. There was a "Celebration of the Dog" exhibition at Chatsworth on the day I visited, but, apart from the motif, I don't think this picture was directly connected with today's "Dog Exhibition". It was probably in place long before the "Dog Exhibition" was even thought of.

Guest Bedrooms - Leicester Bedroom. The canopy was removed at the request of the wife of the 9th Duke of Devonshire, because she felt the drapings of the canopy caused sore throats. Admittedly, the drapings must have got rather dusty over time!

Originally country houses had long corridors like these, meaning you had to pass through a succession of rooms before getting to your destination. This corridor is on the second floor, but it does not directly serve the "State" rooms on the south side, nor the more modern style corridor with doors on to the individual guest bedrooms. The windows suggest it might be a north facing corridor.

Before reaching Sir Jeffry Wyatville's Oak Staircase,
there is another chance to see the Painted Hall.

♦  Oak Staircase  ♦

The Oak Staircase was created by the architect Sir Jeffry Wyatville to link the second floor with the new North Wing. The stairwell is home to a large number of pictures of (1) influential dignitaries the then Dukes of Devonshire knew and also (2) some closer family-related pictures. To maintain the status of Chatsworth and the Dukes of Devonshire over the centuries, influence and finance were both needed, and this meant cultivating the right social connections. The pictures covering the wall of the stairwell reflect the several centuries of immense efforts by the Dukes of Devonshire to keep "their ship afloat".

This could be William III mounted on his steed. The picture is similar in many ways to the equestrian portrait of William III by Johannes Voorhout. The then Duke of Devonshire at Chatsworth helped William and Mary to the English throne and gained as a result.

George IV
This painting bears an uncanny resemblance to
the Coronation portrait by Sir Thomas Lawrence, 1821!
The 6th Duke of Devonshire (1790-1858) carried the orb at George IV's coronation.

Who is this poor lass? Well, probably not poor in an impecunious sense. However, she appears to be wearing an "I can hardly breathe" corset, and is pretending - with her relaxed look - that it is part of everyday existence!

Here we see Richard Boyle, 3rd Earl of Burlington, with his family.
The picture is by Jean-Baptiste van Loo (1739).
On 11th June 1731, The Earl of Burlington became "Captain of the Honourable Corps of Gentlemen-at-Arms", having taken over this title from the then Duke of Devonshire.

New North Wing - First Floor

The North Wing dates from the period 1818 to 1841 and was due to the 6th Duke of Devonshire (1790 - 1858) otherwise known as the "Bachelor Duke". Sir Jeffry Wyatville was the main architect. The North Wing includes the Great Dining room and Sculpture Gallery as well as the Theatre. The Libraries (also due to Jeffry Wyatville) also appear here because of the way visitors are routed through Chatsworth House. At the same time, Jeffry Wyatville added the guest bedrooms on the second floor, as well as the oak staircase which connects the second floor to the north wing; both of these we have already visited in our on-line tour. After the Sculpture Gallery, we pass through the Orangery to reach the Gardens and the outside world.

The North Wing contains the Great Dining Room and the Sculpture Gallery, and also gives access to the Main Library which occupies the former Long Gallery of the original Chatsworth House. Sir Jeffry Wyatville was main architect for the North Wing.

♦  Libraries  ♦

The libraries are due to the architect Sir Jeffry Wyatville and comprise (1) the ante-library to which visitors are admitted, and (2) the main library which can be viewed from the ante-library. The Main Library replaced the former Long Gallery in the original part of Chatsworth House - Long Galleries were to be found in most country houses.

The main library is viewable from the ante-library. The main library is actually on the original first floor and not in the North Wing. As mentioned, it appears here because of the way the visitor is routed through Chatsworth House. The Main Library occupies the former long gallery which faced east towards the rising sun. Long Galleries were intended for physical exercise in inclement weather, but at Chatsworth the opportunity for physical exercise yielded to the opportunity for mental exercise afforded by the library. The 6th Duke would buy whole libraries at auction. How many of these books were actually read is another matter, but at least, a library would look as if its owner was educated.

The main library is viewable from the ante-library.

The Ante-Library (of course "Ante" and not "Anti"!!) leads to the Main Library. The decor of the Ante-Library reflects the artistic tastes of the first part of the 19th Century.

As we scan our eyes over the walls and ceiling,
we can appreciate more of the ebullience of this period.

Here is one of the ceiling "panels".

On the ceiling of the ante-library, Venus and Iris are complaining to Mars.
This was painted in 1820 (or 1823) by Sir George Hayter.
The scene is from Homer's Iliad Book V line 325 (English version).
Venus (in Greek 'Aphrodite'), supported by Iris, is complaining to Mars, and shows the wound she (Venus) has received from Diomedes in her attempt to rescue Aeneas.
The rainbow is intentional, but I'm not sure of its relevance here!
Even if you are not an expert in Classical Mythology,
I'm sure the artistic skills of Sir George Hayter can be appreciated!

Books line the shelves.

Many books are leather bound and decorated in gold leaf.
Lots of regular spine-polishing is called for!

I wonder of these books were or are ever read. They have a historical and artistic value.
Nowadays, even paper-backs have often yielded to
on-line information sources such as Wikipedia® and search engines.

♦  Great Dining Room  ♦

The Great Dining Room was also commissioned by the 6th Duke and created by Sir Jeffry Wyatville. With its gilded stucco ceiling, it was a "just-in-time" effort. It was ready just in time for the visit of Princess Victoria (the future Queen but now only 13) with her mother, the Duchess of Kent, in 1832.

Gilded Stucco and dark red wall hangings.
Dining Elegance!

On the left, the two white marble Bacchanalian figures
are guarding the white marble fireplace.
In fact, there are two marble fireplaces,
each guarded by two marble Bacchanalian figures.

The table has not yet been laid, but, when it is,
I'm sure the recommendations in "Debrett's" will be duly followed!

More gilded stucco and dark red wall hangings, ...
and (on the right) one of those fireside Bacchanalian figures.
Chandeliers and candelabras all had to be duly lit before each banquet.

I don't know who this lady is, but I'm sure that in her time
she has seen quite a few diners and dinners
and heard quite a few things from idle banter to secrets of state.

The arched white stucco ceiling, with its gilded hexagons and flowers,
has also looked down on many a banquet.

After dinner, the guests
could appreciate the art in the Sculpture Gallery next door
or could gain further knowledge and enlightenment in the libraries.

♦  Sculpture Gallery  ♦

The 6th Duke wanted to obtain some original sculptures for his new Sculpture Gallery. This proved impossible, so he commissioned sculptors such as the famous Antonio Canova (1757-1822), who produced six of the sculptures at Chatsworth, but many of whose works can also be seen at the Louvre, the V&A, the "Met" in NY and the "Borghese" in Rome.

The Sculpture Gallery with "The Dying Gaul".

This could be Venus ...

... or this could be Venus.

I'm not sure about this lady,
but she might be Napoleon's Mother or Sister in a Classical guise.


Gardens were often regarded as an extension of the house indoors to the outdoors. The outdoors had therefore to reflect the artistic elegance of the interior of the house. The gardens at Chatsworth are dominated by the vista from the south front of the house including the Emperor Fountain. A host of special features include the Rock Garden, Ring Pond and Serpentine Hedge, and of course, the Cascade. The Glass Houses at Chatsworth provide that exotic "Kew Gardens" effect.


♦  The Emperor and Latin  ♦

The Emperor Fountain is an icon of Chatsworth. The Fountain is Grade II listed; it was commissioned in 1844 by the 6th Duke of Devonshire (the Bachelor Duke) and built by Joseph Paxton of glasshouse fame.

We shall also learn some Latin, see the Cavendish Serpent and see the Chatsworth "logo". The Cascade will also feature on our initial itinerary.

Chatsworth House - East Front with Daffodils

Chatsworth House - South Front
with the iconic Emperor Fountain sitting in the 1702 Canal Pond

Chatsworth House - South Front
The scaffolding dog is just discernible and reminds visitors of
the "Dog Exhibition" which was taking place at Chatsworth.

The south front of Chatsworth was the work of the architect William Talman

And now for the Classics. If you look at the centre of the south front, as depicted here, you can just about see, above the upper middle six windows, the Cavendish family motto. This is "CAVENDO TUTUS". An initial translation is "safe (TUTUS) by being cautious (CAVENDO)", but you can of course think of more elegant English translations!

The Emperor Fountain as seen looking south, away from the south wing.

Chatsworth House from the South East with daffodils.

And then I saw an ice cream trailer. No ices today, but the van bore the symbols of Chatsworth. Here is the Cavendish serpent. I'm not sure when the crown was added.

The ice cream trailer also bore another symbol of Chatsworth, namely the West Front. Visitors cannot normally reach the exterior West Front, but it can be seen from the distance, for example when crossing Paine's Bridge on the approach to Chatsworth.

Chatsworth House seen from the south east across the well-tended lawns.

Here is the 24-step Water Cascade (1696-1701) topped by the Cascade House (1703).
The water comes from the hills.

A blaze of colour looking southwards from near the "Conservative Wall".

From right to left, we see part of the West Front as well as an example of elegant stone garden furniture; on the left we can also catch a glimpse of the Emperor Fountain.

♦  Special Garden Features  ♦

After seeing the Emperor Fountain, I returned to Flora's Temple for a quick coffee. I then had the chance to join a mini guided tour which included the Cascade, the Willow Tree Fountain, the Rock Garden, the Ring Pond and the Serpentine Hedge.

Flora's Temple dates to 1695 and was moved to this position at the northern end of the Broad Walk in 1760. As the name suggests, it shelters a statue of the goddess Flora.

The statue of the godess Flora is by Cibber.

On a notice in the gardens we see another version of the Chatsworth logo, the west front. The west front is not directly accessible by the public. It is accessible from the private grounds occupied by the present Duke of Devonshire, who, according to Wikipedia's entry for Chatsworth House, pays the owners of Chatsworth House (the trustees of the Chatsworth Settlement), "a market rent for the use of his private apartments in the house". In addition, the Chatsworth House Trust obtained in 1981 a 99-year lease from the trustees of the Chatsworth Settlement "to preserve the house and its setting for 'the benefit of the public'."

I'm not sure who this classical person is, but behind the statue on the left is the set of traditional greenhouses forming the "Conservative Wall". The more modern (1970) "Display Greenhouse" is on the right.

Chatsworth House - South Front

Here again is the 24-step Water Cascade (1696-1701) topped by the Cascade House (1703).
The water comes from the hills.

"Trick" plants that shot jets of water at the unsuspecting visitors were loved by designers of gardens of stately homes. This is the "Willow Tree Fountain" dating back to ca 1830, replacing a smaller earlier one from 1693. This copper fountain (designed by Paxton and Holmes) can shoot water from its branches if someone is ready - unobtrusively - to open a nearby tap.

This leads on to the maze, the site of Paxton's famous Great Conservatory. The Conservatory was built from 1836 to 1841. It was demolished in 1920, the shortage of heating coal having priority over the preservation of an interesting structure!

The Ring Pond

The Ring Pond

From the Ring Pond we look south up the Serpentine (yew) Hedge planted in 1953.
The bust of the 6th Duke of Devonshire guards the other end!

Chatsworth House - South Front

Chatsworth House - East Front
The Emperor Fountain appears in the left-middle distance.

♦  Greenhouses - Kew at Chatsworth  ♦

Northern-most are the set of traditional greenhouses forming the "Conservative Wall" (no politics!) on the slope between Flora's Temple the Stables. These greenhouses are used to grow fruit (e.g. bananas) and prize-winning Camellias. Just to the south is the 1970 Display Greenhouse. Paxton's Great Conservatory (as mentioned above) stood where the maze is now.

Behind the statue on the left is the set of traditional greenhouses forming the "Conservative Wall". The more modern (1970) "Display Greenhouse" is on the right.

In one of the Conservative Wall greenhouses I saw what I think are a species of Camellia.

I was so fascinated by ...

... the colour of these flowers and their leaves ...

... that I took ...

... several pictures.

A chair made from coins stands in the middle of the Conservative Wall Greenhouses.

Closer inspection reveals that the coins are
J.F. Kennedy Anniversary half dollars minted in 1985.

♦  Goodbye to the Emperor  ♦

It was time to take a few parting shots of the Emperor Fountain and the daffodils which were starting to make their annual spring appearance. It had been an eye-opening day and now it was time to catch the bus back to Matlock. Heavy rain showers were also coming in.

Emperor Fountain looking south.

Daffodils and the Emperor Fountain looking towards the House.

Another view looking towards the House.

Good Bye to Chatsworth

The evening and rain showers were approaching. I left by Flora's Temple. I had a quick view of the Stables, now a restaurant. Wyatville's ornate gates also bid me farewell, their ornate tracery reflecting in the rain on the stones. It had been an interesting and memorable day. One of those days which are highlights in one's life.

Flora, her flower basket perched on her head, ...

... looks out to the Broad Walk from the shelter of her classical temple.

Here are the erstwhile stables - now a restaurant.

The ornate tracery of two of Wyatt's black and gold gates ...

... reflects in the stones as the rain comes in.