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British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels ENGLAND 1 Bedfordshire Aspley House 82.49 82.50 82.51 Ickwell Bury 81.1 Leighton Buzzard 84.156 Courtauld Institute Negative, No. 200/2 (43). Collection: Ashmolean Museum, vol. III, 62. Drawing by James Gibbs. Luton Hoo 81.326 Old Warden Park 81.300 Southill Park 81.301 81.302 Woburn Abbey 81.231 Wrest House 81.303 Berkshire Appleton 82.91 82.92 82.93 Ashdown Park 82.100 82.101 82.102 82.103 82.104 Buckland House 81.180 Buscot House 82.97 82.99 Faringdon House 82.94 82.95 82.96 Hamstead Marshall 81.29 Highclere Castle 82.106 82.107 82.108 82.109 82.110 82.111 82.112 Purley Hall 82.115 82.116 Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 1 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels 1 Berkshire Royal Merchant Navy School 81.139 Sulhamstead 82.113 82.114 Windsor Castle 81.234 Windsor Great Park 82.139 82.140 82.141 Buckinghamshire Ascott House 82.52 82.53 82.54 82.55 82.56 82.57 82.58 Biddlesden 81.251 Chequers 81.152 Chicheley 82.45 82.46 82.47 82.48 Cliveden 81.233 2 Daws Hill 81.69 Dropmore - Alcove from Old 84.171 National Monuments Record, CC52/65. Date taken: ?. NRA. London Bridge Hartwell House 82.59 82.60 82.61 82.62 82.63 82.64 Langley Park 81.113 Mentmore Park 81.165 Stowe 84.142 Courtauld Institute Negative, No. 199/25 (40). Collection Ashmolean Museum, Vol. I, 47. Drawing by James Gibbs. 84.143 Courtauld Institute Negative, No. 199/54 (24). Collection Ashmolean Museum, Vol. II, 99. Drawing by James Gibbs. 84.144 Courtauld Institute Negative, No. 199/62 (5A). Collection Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 2 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels Ashmolean Museum, Vol. II, 107. Drawing by James Gibbs. 2 Buckinghamshire Stowe 84.148 Courtauld Institute Negative, No. 199/57 (40). Collection Ashmolean Museum, Vol. II, 84. Drawing by James Gibbs. 84.153 Courtauld Institute Negative, No. 199/55 (30). Collection Ashmolean Museum, Vol. II, 93. Drawing by James Gibbs. Stowe Park 81.74 Tyringham Park 81.320 Waddesdon Manor 82.65 82.66 82.67 82.68 82.69 82.70 West Wycombe 81.30 West Wycombe - Church Exterior 84.124 National Monuments Record, AA38/1862. Date taken: ?. Copyright: L. Lawrence, NRA Wotton House 81.62 Cambridgeshire Anglesey Abbey 81.142 81.278 Chippenham Park 81.169 Croxton Park 81.31 Hatley Park 81.143 81.201 Kirtling Towers 81.145 Longstowe Hall 81.92 Madingley Hall 81.273 Peckover House 82.1 82.2 82.3 Vandlebury 81.235 West Wratting Park 81.2 Wimpole - Wimpole Hall, The Folly 84.166 National Monuments Record, CC69/535. Date taken: 1980. NRA. Wimpole - Wimpole Hall, North 84.167 National Monuments Record, CC69/533. Date taken: 1980. NRA. Vista towards Folly Wimpole Hall 81.272 Cheshire Eaton Hall 81.147 Mow Cop - Sham Castle [or folly] 84.44 National Monuments Record, AA51/4369. Date taken: 1950. NRA. Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 3 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels 2 Cheshire Tatton Hall 81.125 81.126 Cornwall Antony House 81.89 Boconoc 81.240 Lanhydrock 81.37 81.322 3 Cumbria Levens 81.120 Lowther Park 81.45 Derbyshire Barlborough Park 81.227 Chatsworth 81.270 81.171 Chatsworth - Temple of Flora 84.46 National Monuments Record, AA53/10961. Date taken: 1953. NRA. Chatsworth - Cascade Fountain 84.47 National Monuments Record, AA68/934. Date taken: 1953. NRA. Chatsworth - Statue, Temple of 84.48 National Monuments Record, AA53/10962. Date taken: 1953. Flora NRA. Elvaston Castle 81.99 81.89 Hardwick Hall 81.53 Kedleston Park 81.274 Melbourne Hall 85.3 Cambridge University Aerial Photography Committee, CQB 7. 85.4 Cambridge University Aerial Photography Committee, CQB 10. 85.5 Cambridge University Aerial Photography Committee, CQB 11. 85.6 Cambridge University Aerial Photography Committee, CQB 13. Renishaw Park 81.226 Wynnstay 84.141 Courtauld Institute Negative, No. 199/70 (15A). Collection Ashmolean Museum, Vol. III, 43. Drawing by James Gibbs. Devonshire Bicton House 82.4 82.5 82.6 82.7 82.8 82.9 82.10 Castle Drogo 81.323 Castle Hill 81.88 81.87 Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 4 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels 3 Devonshire Castle Hill - “Eye catcher” [or 84.33 National Monuments Record, AA68/520. Date taken: ?. Copyright: triumphal arch] John Harris. NRA. Castle Hill - Rustic Bridge 84.30 National Monuments Record, AA68/521. Date taken: ?. Copyright: John Harris. NRA. Heanton Satchville 81.172 Luscombe Castle 81.59 Mamhead House 81.58 Powderham Park 81.324 Dorset Canford School 81.246 Charborough Park 81.57 Crichel House 81.248 Langton Park 81.134 Milton Abbey 81.294 Wimborne St. Giles 81.249 Durham Brancepeth Castle 81.229 Raby Castle 84.159 Courtauld Institute Negative, No. 199/45 (18). Collection Ashmolean Museum, Vol. II, 48. Drawing by James Gibbs. Essex Audley End 81.297 Audley End - Bridge and Pavilion 84.88 National Monuments Record, AA69/9. Date taken: ?. Copyright: John Morrey. NRA. Braxted Park 81.94 81.66 Gosfield Hall 81.67 4 Gloucestershire Badminton 84.147 Courtauld Institute Negative, No. 199/14 (41). Collection Ashmolean Museum, Vol. II, 1. Drawing by James Gibbs. Badminton - Hermitage 84.6 National Monuments Record, A36/1029. Date taken: ?. Copyright: Rev. Sumner. NRA. Badminton Court - Worcester Lodge 84.12 National Monuments Record, B47/784. Date taken: 1939. NRA. 84.31 National Monuments Record, AA51/11748. Date taken: ?. Copyright: Ian Dunlop. NRA. Badminton House 81.161 Batsford Park 81.136 Blaise - Circular Cottages 84.72 National Monuments Record, A44/8974. Date taken: ?. NRA. Blaise - Diamond Cottage 84.99 National Monuments Record, A44/8969. Date taken: ?. NRA. Blaise - Double Cottages, Nos. 4 and 84.110 National Monuments Record, AA44/8971. Date taken: ?. NRA. 5 (Bristol) Arnos Castle 84.114 National Monuments Record, AA47/4225. Date taken: 1947. NRA. Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 5 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels 4 Gloucestershire (Bristol) Arnos Castle 84.119 National Monuments Record, AA47/4224. Date taken: 1947. NRA. (Bristol) Arnos Castle - Exterior of 84.109 National Monuments Record, AA47/4221. Date taken: 1947. NRA. Bath 84.112 National Monuments Record, AA47/4220. Date taken: 1947. NRA. (Bristol) Arnos Castle - Entrance 84.115 National Monuments Record, AA47/4219. Date taken: 1947. NRA. Gates [or Arno's Court Triumphal Arch] (Bristol) Arnos Court - 84.111 National Monuments Record, AA49/4980. Date taken: 1949. NRA. General View of House (Bristol) Brislington - Gothic Lodge 84.96 National Monuments Record, AA56/3085. Date taken: 1956. Copyright: E.G. Holt. NRA. 84.97 National Monuments Record, AA56/3084. Date taken: 1956. Copyright: E.G. Holt. NRA. Dodington Park 81.208 Prinknash Park 81.130 Sezincote 81.212 Sezincote Park 81.128 Sudeley 81.266 Toddington Manor 81.267 Tortworth Court 81.211 Westbury Court 81.54 Westonbirt 81.207 Hampshire Beaulieu Abbey 82.22 82.23 82.24 82.25 82.26 Bramdean House 82.136 82.137 82.138 Broadlands House 81.70 Exbury House 82.16 82.17 82.18 82.19 82.20 82.21 Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 6 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels 4 Hampshire Exbury House 82.27 Hackwood 84.152 Courtauld Institute Negative, No. 199/63 (10A). Collection Ashmolean Museum, Vol. III, 111. Drawing by James Gibbs. Hale Park 81.10 Hinchingbrooke House 81.241 Hurstbourne Park 81.18 Lainston House 81.15 Laverstoke House 81.14 Moundsmere Manor 82.126 82.127 82.128 82.129 82.130 Northington 81.197 Rotherfield Park 82.131 82.132 82.133 82.134 82.135 5 Sherfield Court 82.117 82.118 82.119 82.120 Stratfield Saye 81.256 81.181 Tylney Hall 81.265 The Vyne 81.198 West Green House 82.121 82.122 82.123 82.124 82.125 Herefordshire Berrington Park 81.287 Eastnor Park 81.132 Goodrich Court 81.230 Moccas Park 81.156 Hertfordshire Gorhamburg 81.200 Image Collections and Fieldwork Archives (ICFA), Dumbarton Oaks Page 7 of 26 British Gardens Aerial Photographs (PH.GL.001) Box County Estate Number Additional Labels 5 Hertfordshire Gubbins 84.157 Courtauld Institute Negative, No. 200/6 (24). Collection Ashmolean Museum, Vol. III, 87. Drawing by James Gibbs. Hatfield House 81.199 Knebworth House 81.68 Moor Park 81.112 Munden House 81.111 Wellburg Park 81.131 Humberside Sewerby Hall 85.92 Cambridge University Aerial Photography Committee, CQD 73. 85.93 Cambridge University Aerial Photography Committee, CQD 75. 85.94 Cambridge University Aerial Photography Committee, CQD 76. 85.95 Cambridge University Aerial Photography Committee, CQD 77. 85.96 Cambridge University Aerial Photography Committee, CQD 78. 85.97 Cambridge University Aerial Photography Committee, CQD 79. 85.98 Cambridge University Aerial Photography Committee, CQD 81. Stedmore House 85.99 Cambridge University Aerial Photography Committee, CQE 2. 85.100 Cambridge University Aerial Photography Committee, CQE 6. 85.101 Cambridge University Aerial Photography Committee, CQE 7. 85.102 Cambridge University Aerial Photography Committee, CQE 15. 85.103 Cambridge University Aerial Photography Committee, CQE 16.
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    Athens Journal of Architecture - Volume 4, Issue 1– Pages 7-30 Vacuum Appropriation Strategies between Patio and Pavilion Archetypes Hybridization in Two Classical Masters Works of Modern Architecture By Simone Solinas Patio and pavilion, understood as archetypes, may appear as opposing principles in the construction of space. However, we can see through the analysis of some of the proposed cases that the overlap of these principles takes place very frequently, because they both arise from the need to delimit the vacuum by giving to it the character of space. The vacuum is not space, although space may be empty. The vacuum exists without us, whereas space does not. The architect, in designing enclosed space, encapsulates a portion of the vacuum, indistinct and formless, understood as Nature. This is a fragment of Paradise that everyone has right to possess, by binding an idea to the image of the patio and pavilion. From their combined use, there are several cases in which these elements take shape in architectural projects. In some projects, one principle dominates the other, but it is evident that there are a large variety of mixed proposals between the two extremes. The two principles do not exclude one another and can coexist together in a complementary way by appearing in the same project. The two figures as archetypes are taken as the main reference points of different poles that seem to be conflicting and irreconcilable ideas, but that instead build together the complexity of architecture. Full | empty, outside | inside, empty space | full-space, stereotomic | tectonic, vertical | horizontal, centrifugal | centripetal, works together to build space.
  • FALL 2019 2 | from the Executive Director

    FALL 2019 2 | from the Executive Director

    Americans in Alliance with the National Trust of England, Wales, and Northern Ireland The Horse and the Country House The Lost House Revisited Restoring Britain’s Waterways FALL 2019 2 | From the Executive Director THE ROYAL OAK FOUNDATION 20 West 44th Street, Suite 606 New York, New York 10036-6603 212.480.2889 | www.royal-oak.org BOARD OF DIRECTORS Chairman Lynne L. Rickabaugh Vice Chairman Renee Nichols Tucei Treasurer Susan Ollila Montacute House in Somerset is a masterpiece of Elizabethan Renaissance architecture and design. Secretary Royal Oak members visited the house on this year’s annual garden tour. Prof. Sir David Cannadine Directors Cheryl Beall Michael A. Boyd Dear Members & Friends, Michael J. Brown Though we are nearing the final quarter of 2019, our year is far from over. On November Susan Chapman 6, we will host our fall benefit dinner at the Century Association in New York City. This Constance M. Cincotta year’s event will honor the Duke of Devonshire for his contribution to the preservation Robert C. Daum of British culture and the 10 year restoration of Chatsworth. Sir David Cannadine will Tracey A. Dedrick join in discussion with the Duke about his project to restore Chatsworth to its full glory Anne Blackwell Ervin and it promises to be wonderful evening. Pamela K. Hull Linda A. Kelly We are well on our way to achieving our goal of raising $250,000 to preserve the library at Hilary McGrady Blickling Hall. This is one of the most significant libraries under the care of the National Eric J.
  • The Country House in English Women's Poetry 1650-1750: Genre, Power and Identity

    The Country House in English Women's Poetry 1650-1750: Genre, Power and Identity

    The country house in English women's poetry 1650-1750: genre, power and identity Sharon L. Young A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Doctor of Philosophy 2015 University of Worcester Abstract The country house in English women’s poetry 1650-1750: power, identity and genre This thesis examines the depiction of the country estate in English women’s poetry, 1650-1750. The poems discussed belong to the country house genre, work with or adapt its conventions and tropes, or belong to what may be categorised as sub-genres of the country house poem. The country house estate was the power base of the early modern world, authorizing social status, validating political power and providing an economic dominance for the ruling elite. This thesis argues that the depiction of the country estate was especially pertinent for a range of female poets. Despite the suggestive scholarship on landscape and place and the emerging field of early modern women’s literary studies and an extensive body of critical work on the country house poem, there have been to date no substantial accounts of the role of the country estate in women’s verse of this period. In response, this thesis has three main aims. Firstly, to map out the contours of women’s country house poetry – taking full account of the chronological scope, thematic and formal diversity of the texts, and the social and geographic range of the poets using the genre. Secondly, to interrogate the formal and thematic characteristics of women’s country house poetry, looking at the appropriation and adaptation of the genre.