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Historic House Collection

Historic Houses

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Over 25 years ago, The Interior Archive established its enduring reputation on the strength of a film archive of huge historical interest and importance. This rare resource for research and historical reference is one of the few private archives of its kind in the world, and the gradual digitalisation of our back catalogue will ensure that this extraordinary collection of historic houses and architectural details eventually will be available to everyone

  • The saloon in the Menagerie at Horton with its restored rococo plasterwork. The urns are copied from the limewood models Rex Whistler made for Samuel Cortauld
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  • With its multitude of gables and chimneys, Knole House looks like a medieval village
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  • Detail of the polished brass door knobs and keyholes of a double door at Petworth House
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  • The Grand Staircase at Petworth House is decorated with murals by Louis Laguerre and the balustrade is by Sir Charles Barry
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  • A hand-written sign as a reminder to servants at Petworth House
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  • The Carved Room at Petworth House features a pair of beautifully carved picture frames by Grinling Gibbons
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  • The entrance hall to Petworth House has a stone-flagged floor
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  • An enfilade of rooms looking from the North Gallery at Petworth House
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  • The landing at the top of The Grand Staircase at Powis Castle, the walls of which were decorated in 1705 by Gerard Lanscroon, a pupil of Verrio
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  • The Grand Staircase, attributed to Captain William Winde, has walls which were decorated in 1705 by Gerard Lanscroon, a pupil of Verrio
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  • The Long Gallery at Powis Castle was completed in 1593 and is the only room to have been decorated by Sir Edward Herbert that has survived intact
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  • The medieval exterior of Powis Castle towers over its magnificent terraced gardens
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  • The Grand Staircase Hall at Powis Castle with walls decorated in 1705 by Gerard Lanscroon, a pupil of Verrio, and the ceiling by Verrio himself
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  • One of a series of portraits that decorate the walls of the entrance hall at Petworth House
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  • The library at Powis Castle
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  • Double doors opening from the Long Gallery at Powis Castle have been painted in a trompe l'oeil 3D effect
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  • A glimpse of the Great Hall at Castle Howard, 'a dramatic slice of Baroque Cathedral inserted into an English house'
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  • A corner of the State Drawing Room at Grimsthorpe Castle showing portraits of the 18th century 3rd Duke of Ancaster and his second wife, the former Mary Panton
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  • The elaborately carved wooden doorway leading from the Long Gallery to the Anteroom of the State Bedroom at Haddon Hall
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  • The Hotel-Dieu (general hospital) founded by Dom Malachie d’Inguimbert, who became the bishop of Carpentras, his hometown, in 1735. The architect was Antoine d’Allemand The pharmacy inside the Hôtel-Dieu. The jars and drawers below contain various medicinal products.
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  • The interior of the OLITA (Our Lord In The Attic) museum. The attic of this bourgeois house conceals a secret Catholic church, known as Ons' Lieve Heer op Solder (Our Dear Lord in the Attic), originally built in 1663, when Catholics lost their right to workship in their own way. The lower floors of the building became a museum in 1888 and today contain refurbished rooms, as well as a collection of church silver, various religious artifacts and paintings.
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  • The interior of the OLITA (Our Lord In The Attic) museum. The attic of this bourgeois house conceals a secret Catholic church, known as Ons' Lieve Heer op Solder (Our Dear Lord in the Attic), originally built in 1663, when Catholics lost their right to workship in their own way.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. A guest bedroom in the house is richly decorated with pattern, colour and gilded furniture.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. A guest bedroom in the house is richly decorated with pattern, colour and gilded furniture.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The billiards room is lined with bookshelves.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The chapel of Clandeboye was the private chapel of the Blackwood family.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The green drawing room.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The green dining room with a sideboard laden with candelabra.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The Marchioness is a successful artist who uses her maiden name, Lindy Guinness and her studio is a light-filled room.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The library with bookcases inscribed in gilt with the names of Greek gods.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The staircase, flanked by a pair of Icelandic narwhal tusks and decorated with artefacts collected in East Asia, all souvenirs from travels by the 1st Marquess.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The staircase, flanked by a pair of Icelandic narwhal tusks and decorated with artefacts collected in East Asia, all souvenirs from travels by the 1st Marquess.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The inner hall, weaponry, heraldy and hunting prizes line the wall. Many treasures and curiosities were brought back to Clandeboye by the 1st Marquess.
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  • The exterior of an early Georgian mansion, known locally as Ballyleidy, dating from 1801 and built by Robert Woodgate. The house is on the the Clandeboye estate and is home to Lady Dufferin, Marchioness of Dufferin and Ava.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The inner hall, weaponry, heraldy and hunting prizes line the wall. Egyptian sculptures, Burmese wood carvings, stuffed grizzly bears and rhinoceros heads as well as many other treasures and curiosities were brought back to Clandeboye by the 1st Marquess.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The inner hall, weaponry, heraldy and hunting prizes line the wall. Egyptian sculptures, Burmese wood carvings, stuffed grizzly bears and rhinoceros heads as well as many other treasures and curiosities were brought back to Clandeboye by the 1st Marquess.
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  • Inside the house on the Clandeboye estate, which is the home to Lady Dufferin, Marchioness of Dufferin and Ava. The dramatic entrance to the inner hall with deep red curtains and a pair of stuffed bears, acquired by the 1st Marquess, guarding the way to the baronial-proportioned space. The stained glass window represents the arms of the families linked with Clandeboye.
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  • Entrance porch to the House of Lords, its vaulted ceiling complete with carved, floral bosses
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  • A carved wooden partition, with stained glass windows and folding doors, marks the entrance to another ante-room, complete with heraldic fireplace and leather armchairs
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  • An engraved clock is recessed into the wooden carved panelling above a doorway
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  • Decorative heraldry in moulded niches is gilded and painted with flower motifs
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  • A particularly strong example of the vibrant, gothic revival decoration that ornaments the doorways, walls and ceilings of the House of Lords
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  • Detail of the tiled floor outside one of the chambers, decorated with gothic lettering and a fleur-de-lis motif
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  • One of a variety of patterns and mouldings that have been used to decorate the walls of the House of Lords
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  • Detail of a gilded roof boss and vaulting in the Norman Porch. The mosaic shows the rose of England
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  • A fireplace in the Bishop's Robing Room, flanked by ecclesiastical firedogs
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  • Detail of one of the turrets, showing heraldic lions
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  • Rows of heraldic lions bearing gilded flags surround the turrets of Victoria Tower
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  • The flagpole on top of Victoria Tower is encased in what must be one of the grandest bases in existence
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  • One of the stone turrets at the top of Victoria Tower
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  • The impressive gold and black flagpole base atop Victoria Tower is decorated with gothic finials, gilt leaves and lions' heads
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  • View towards Big Ben and the City of London from Victoria Tower and the House of Lords
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  • The room beneath the flagpole in Victoria Tower
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  • The Victorian, gothic magnificence of the Victoria Tower at the House of Lords
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  • A door at the top of the main staircase is surrounded by coats of arms of Admirals and Field Marshalls
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  • The main staircase, leading to the principal floor, impresses peers and visitors alike with the antiquity of the institution
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  • One of several gothic fireplaces in the library, each of which has slightly differently designed firedogs and hearth tiles
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  • One of the clocks in the library is framed by elaborate wooden carving and little busts of kings and queens
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  • Detail of a firedog in the Lord's Library, which is medieval inspired, with Victorian tiles on the hearth behind
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  • The Lords' Library extends over several ornately panelled rooms
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  • One of the library desks with House of Lord's stationery with the distinctive green reading lamps, which stand on every table
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  • A marble bust above the library fireplace is framed by shelves of gilt-edged leather-bound books
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  • Carved panelling in a doorway connects  two of the library rooms
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  • Coats of arms, painted in niches above the bookcases, adorn the walls of the library
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  • One of the brass hinges on the door leading from the Royal Gallery to the Robing Room
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  • Stained glass windows in the Royal Gallery show post World War II reproductions of Pugin's designs for heraldry of English and Scottish monarchs
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  • Encaustic floor tiles designed by Pugin and made by Minton, are based on medieval examples
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  • Dappled light from the stained glass windows shines on a Daniel Maclise fresco in the Royal Gallery illuminating the gilded carving
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  • Detail of the benches and carved panelling which line the Royal Gallery
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  • A detail of the coffered ceiling of the Royal Gallery, with heraldic designs by A.W.N Pugin
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  • Figure of Justice by John Gibson, part of a group with Queen Victoria and Mercy, is glimpsed through the sumptuously decorated doorway from the Royal Gallery
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  • The Royal Gallery provides a grand processional route between the Robing Room and the Chamber. Below the medieval inspired beamed ceiling are two frescos by Daniel Maclise, The Death of Nelson and The Meeting of Wellington and Blucher after Waterloo
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  • Gilded statues of King William III and Queen Anne, by Birnie Philips, flank the doorway from the Royal Gallery to the Norman Porch
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  • A coronation portrait of King George V, by Luke Fildes, hangs beside another past monarch, Queen Anne, in the opulent surroundings of the Royal Gallery
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  • A starry sky has been painted in the archway between the Royal Gallery and the Robing Room. The double doors are decorated with brass studs in a flower motif
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  • The grand Robing Room has walls adorned with Arthurian frescos by William Dyce. The bronze reliefs by H.H. Armstead are also themed around the medieval romance
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  • Detail of the kaleidoscopic ceiling of the Robing Room, designed by J.G.Crace
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  • Detail of the carved and gilded Tudor roses and grilles on the double doors to the Robing Room
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  • Chairs designed by A W N Pugin and made by Philip Webb are grouped around an hexagonal writing table
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  • One of a set of doors with intricate metal work designed by A W N Pugin. Each set of doors in the House of Lords has a differently patterned brass grille
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  • Detail of one of the bronze reliefs by William Theed in the Prince's Chamber. This panel depicts Raleigh spreading his cloak as a carpet for Queen Elizabeth I
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  • Wood panelling, elaborately carved with flower motifs, clads the Prince's Chamber. The polished wood also frames historically themed bronze reliefs by William Theed
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  • Detail of the painted ceiling of the Prince's Chamber
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  • The Queen's Robing Room. This is where the Queen puts on her crown before the State Opening of Parliament. The throne is presumed to have been designed by E.M Barry and probably supplied by F. and J.G. Crace
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  • The fireplace in the Prince's Chamber, above which is mounted one of the bronze reliefs by William Theed, which decorate the walls of the room
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  • A quiet moment to catch up on some reading in the opulent surroundings of the Prince's Chamber at the House of Lords
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  • John Gibson's statue of Queen Victoria in the Prince's Chamber of the House of Lords
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  • The Clerk's Table at the centre of the Chamber, on which can be seen the division hour glass, for timing votes, and a  gold embossed despatch box
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  • A corner of the Chamber, showing carved panelling, heads of kings and painted coats of arms
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  • The Press Gallery in the Chamber, with its seat for the door keeper
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  • One of the vigorously carved royal beasts adorning the bench ends in the Chamber
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  • These angels kneeling beneath the Strangers' Gallery at the Bar end of the Chamber exhibit some of the most beautiful carving in the House of Lords
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  • One of the carved angels between the windows of the Chamber, which is situated beneath the Magna Carta barons
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  • A pair of carved wooden figures that decorate the pillars flanking the doorway, which leads from the Press Gallery in the Lord's Chamber
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  • One of the carved beasts that sit atop the wooden partitions in the Lord's Chamber, which is lined with elaborately carved wood panelling
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  • A carved heraldic lion surveys the Chamber in the House of Lords
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  • The Strangers' Gallery at the Bar end of the Chamber, showing Daniel Maclise's The Spirit of Justice
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  • A view of the magnificent Chamber from the Bar at the House of Lords, looking towards the Throne
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  • The Throne and, behind it, the Cloth of Estate, which symbolises the monarch. Despite its name, the Cloth of Estate is made of carved wood, largely covered in 24-carat gold leaf
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  • The Norman Porch, with busts of noble Prime Ministers and a window showing Queen Victoria, in whose reign the present Palace of Westminster was built
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  • A corner of the Royal Gallery in the House of Lords looking through to the Norman Porch
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  • The soaring vaults of the Norman Porch create a cathedral-like effect. It was named after intended statues of Norman sovereigns
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  • The panelling in the Lords' Chamber is enriched with small wooden busts of the Kings of England
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  • A heraldic lion on the Victoria Tower, renewed in the 20th century as part of a programme to replace the decayed stonework of the Palace
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  • The dais, on which the monarch's throne sits, is surrounded by a gilded canopy of carved panelling and a wrought metal balustrade
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  • Detail of the benches in the Chamber: red has been the House of Lords' colour since the 16th century and the brass portholes conceal speakers
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  • Detail of a brass porthole which conceals a speaker in one of the upholstered benches in the Chamber
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  • The Throne, with chairs of State for Prince Consort amd Prince of Wales, and surmounted by its canopy, is the decorative climax of the Palace
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  • One of the four rooms, which make up the Lords' Library, its grand interior lined with bookcases and featuring a marquetry ceiling
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  • Detail of the luxuriant carving on the Press Gallery in the House of Lords, which is situated opposite the throne
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  • A carved unicorn holding a gilt flag is just one among many such whimsical gothic animals located around the Chamber in the House of Lords
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  • Statue of Charles Barry (1795-1860) by J.H Foley in the House of Commons. Barry was the chief architect (with the aid of Pugin) of the Houses of Parliament after Westminster Palace burned down in 1834
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  • The Victorian gothic facade of the House of Lords, decorated with carved heraldry and figures in niches
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  • Two knights peer down from their lofty spot on the ornately carved exterior of the House of Lords
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  • A row of noble, carved monarchs stands in niches along one side of Victoria Tower, while cheeky gargoyles grimace out from the carved stone work around them
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  • The opulent fireplace in the Queen's Robing Room, was designed by Edward Barry, in the richly gilded and patterned Victorian Gothic manner
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  • Robes are laid out in the Moses Room before an introduction ceremony
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  • One of the many rooms of archives in Victoria Tower, with roll upon roll of statutes recorded on parchment. The shelves are metal and slate, a precaution against fire
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  • The rod of office, carried by Black Rod, and from which he takes his name
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  • Coat pegs in the entrance of the House of Lords: some peers compare the allocation of coat pegs to life at public school. Heraldry and gothic decoration provide the peers, even as they remove their overcoats, with a subliminal reminder of their historical responsibilities
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  • The Lord Chancellor's mace, made of silver gilt and dating from the reign of Charles II, is a symbol of royal authority
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  • Kathleen Clifford is head wig maker at Ede & Ravenscroft, purveyors of ceremonial robes since 1689 and of wigs since 1726
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  • Detail of the doorway leading from the Royal Gallery to the Norman Porch, with a statue of Queen Anne
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  • The south-facing base of the Victoria Tower of the House of Lords
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  • Entrance to the Bishops' Robing Room, where the bishops change into their vestments before entering the Chamber
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  • One of the rooms in the Lord Chancellor's apartments is decorated with a flocked, damask wallpaper and a patterned carpet
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  • A white marble statue in the Lord Chancellor's apartments appears to glow against the dark, gothic background of the panelled walls
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  • Detail of the green flock wallpaper in the Lord Chancellor's apartments, its rich pattern echoing Pugin's intricate gothic carving on the door frame
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  • One of the rooms in the Lord Chancellor's apartments, newly decorated with green flock wallpaper and a carpet inspired by medieval floor tiles in the Victorian gothic style
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  • One of the newly decorated rooms in the Lord Chancellor's apartments (c.1998) clearly follows in the Victorian gothic footsteps of A.W.N Pugin, with its bold, rich coloured patterns on the walls and furniture
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  • The woolsack, upon which the Lord Chancellor sits when he is present in the Chamber, originally symbolized the supremacy of England's trade in wool
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  • Powis Castle is famous for its extraordinary terraced gardens and centuries old yew trees
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  • The interior of the London’s Royal Automobile Club. The Great Gallery restaurant. Robert Carter’s updates include the hand-blocked wood floor, the design of which was inspired by Pavlovsk Palace in St. Petersburg, Russia. At the dining room’s far end is the Minstrels Gallery, an elevated private area for 12 featuring a series of murals by Catherine Lovegrove.
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  • The interior of the London’s Royal Automobile Club. The cocktail bar.
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  • London’s Royal Automobile Club hired interior designer Robert Carter, of Felbrigg Design Company, to renovate its Great Gallery restaurant and its terrace spaces. The 1911 Neoclassical building faces Pall Mall.
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  • The interior of the London’s Royal Automobile Club. The library holds an extensive collection of volumes on automobilia, motoring and motor sports. It also houses the club’s archives, which date back to 1897.
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  • The interior of the London’s Royal Automobile Club. Pall Mall. The rotunda is lined with paintings, many related to the history of automobiles.
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  • The interior of the London’s Royal Automobile Club. Despite its monumental interior architecture and ornate decoration, the smoking room is reserved for informal activities such as enjoying tea and light meals and playing cards or backgammon.
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  • The interior of the London’s Royal Automobile Club. Despite its monumental interior architecture and ornate decoration, the smoking room is reserved for informal activities such as enjoying tea and light meals and playing cards or backgammon.
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  • The interior of the London’s Royal Automobile Club. An original feature of the historic structure, the pool 26 meters long and has a deck done in Sicilian white marble. The Doric columns are inlaid with multicolored mosaic patterns combining Greek sophistication with Roman-inspired splendor.
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  • The interior of the London’s Royal Automobile Club. An original feature of the historic structure, the pool 26 meters long and has a deck done in Sicilian white marble. The Doric columns are inlaid with multicolored mosaic patterns combining Greek sophistication with Roman-inspired splendor.
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  • The interior of the London’s Royal Automobile Club. An original feature of the historic structure, the pool 26 meters long and has a deck done in Sicilian white marble. The Doric columns are inlaid with multicolored mosaic patterns combining Greek sophistication with Roman-inspired splendor.
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  • The interior of the London’s Royal Automobile Club. The Great Gallery restaurant. Robert Carter’s updates include the hand-blocked wood floor, the design of which was inspired by Pavlovsk Palace in St. Petersburg, Russia. At the dining room’s far end is the Minstrels Gallery, an elevated private area for 12 featuring a series of murals by Catherine Lovegrove.
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  • The interior of the London’s Royal Automobile Club. The Great Gallery restaurant. Robert Carter’s updates include the hand-blocked wood floor, the design of which was inspired by Pavlovsk Palace in St. Petersburg, Russia. At the dining room’s far end is the Minstrels Gallery, an elevated private area for 12 featuring a series of murals by Catherine Lovegrove.
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  • The interior of the London’s Royal Automobile Club. In the rotunda is a 1900 Simms, a car built by Frederick Simms, one of the club’s founders, is displayed.
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  • The White Loch of Inch (far right), and the Black Loch (far left)
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  • Lochinch Castle viewed across the White Loch of Inch
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  • Budding dafodils signal the coming of spring to Lochinch Castle
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  • Red water lilies fill the round pond in the grounds of Lochinch
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  • A bridge over the canal which links the two nearby lochs, the White Loch of Inch and the Black Loch, marks the entrance to Lochinch Castle
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  • Ruins of Castle Kennedy, focal point of the eighteenth century formal garden
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  • A tiny laird walks down Rhododendron walk
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  • A winter border planted against a gothic garden wall
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  • A Victorian tower built into the castellated wall of the garden
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  • An old photograph of the baronial castle designed by James Wardrop in the 1860s
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  • Co-builder of the house, John Dalrymple, tenth Earl of Stair, in a portrait by Rudolf Lehmann
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  • Portrait of the present Earl's aunts above a billiards scoreboard in the inner hall
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  • Jacobean revival staircase with carved balustrade and newels
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  • A leather clad letters box with gilt embossed decoration
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  • An elaborately carved console table in one corner of the drawing room
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  • The grand drawing room, looking towards the library
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  • The drawing room ceiling echos the one in the adjoining library
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  • View of the drawing room from the library
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  • Reflection of the library fireplace and family portraits in the library
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  • Detail of one of the enclosed bookcases in the library which display a large collection of antique volumes
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  • Detail of one corner of the library with one of the built-in bookcases and a desk
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  • A grand, Vitorian library with gilded plasterwork ceiling and enclosed antique bookcases
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  • Generations of the Stair family look down from above the library bookcases
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  • View of the garden from a library window
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  • The 2nd Earl of Stair, framed in a pedimented overmantel in the dining room
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  • Detail of a pair of antique chairs (possibly Dutch marquetry) in the inner hall
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  • Guard of honor at the entrance to the dining room, reflecting the military tradition of the family
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  • An appropriately elaborate Victorian fireplace, flanked by de Coigny tapestries framed on the walls of the inner hall
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  • Inner hall, hung with de Coigny tapestries
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  • The grand innter hall and billiard room
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  • Billiard cues line the walls between the floor-to ceiling windows of the billiard room/inner hall
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  • Despite its faded carpets, the billiard room/inner hall still retains the air of a grand Victorian room
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  • The outer hall is a classic example of Victorian baronial display, featuring numerous hunting trophies and weaponry
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  • The welcome of tusks, antlers, hors and weaponry in the outer hall
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  • Scottish Baronial in all its glory, designed by James Wardrop, 1864-68
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  • Scottish Baronial in all its glory, designed by James Wardrop, 1864-68
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  • The enclosed garden in the south front, the original Jacobean dormers can be seen above the later castellated additions to the facade
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  • One of the gothic castellated additions that the fith baronet, Sir James Dalyell modernised the house with in the 19th century
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  • Detail of the damask headboard in the King's Room
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  • Fireplace with an oriental screen in the King's Room
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  • The King's Room, decorated with a broad plasterwork frieze by Alexander White in anticipation of King Charles I's visit in 1633
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  • Portrait of Colonel Gordon Loch
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  • Corridor of bookcases and book cabinets
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  • Victorian Smoking Room, created out of the original brew house/bakehouse
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  • Victorian Smoking Room, created out of the original brew house/bakehouse
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  • Clod of earth symbolising the family's gift of the house to the National Trust for Scotland. Accompanying photo of the 1946 ceremony with Eleanor Dalyell and young Tam in the background
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  • Cartoon by Griffin of Tam in dogged pursuit of Mrs Thatcher
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  • Tam, ensuring that Scottish independence remains a bone of contention, a 1980s cartoon by Griffin in the Guardian
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  • View through a doorway into a room which contains a Georgian portrait displayed above a piano, complete with a pair of candle holders to read the  music in the evening
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  • A colourful tea service on an antique tray in the morning room
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  • A rococo candelabra formed of a gilt boquet of flowers on the morning room mantelpiece
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  • The morning room, built out over the courtyard front in 1745
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  • Captain James Dalyell, killed in the Seven Years' War (French and Indian War) outside Fort Detroit by native American allies of the French
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  • The present laird, Tam Dalyell, by Gerald Laing; arrow added by grandchildren
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  • General Tam's Russian boots (perched on a Boulle plinth) above the fireplace in the dining room
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  • View through the doorway of the Georgian  morning room
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  • General Tam's Russian boots (perched on a Boulle plinth) and broad-sword above the fireplace in the dining room. His Russian stool stands to the left, beneath a portrait of scholar Sir John Dalyell, who taught Charles Darwin natural history
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  • Early 17th century portraits line the walls of this gallery corridor
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  • An antique walnut chest with enamel medallions featuring cherubs
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  • Detail of one of a pair of black amore statues in the drawing room
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  • Two antique black amores flank one of the drawing room windows
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  • The drawing room, its early 17th century plasterwork ceiling remains from the days it was the High Hall
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  • The High Hall, now the drawing room, with its 17th century plasterwork ceiling
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  • Detail of a gentleman's kit
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  • A row of antique leather boots in the King's Room
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  • Detail of the plasterwork by Alexander White, added to the King's Room in 1633
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  • The 1603 Union of the Crowns is celebrated in the plasterwork of this ceiling, with thistles and roses, emblems of Scotland and England
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  • A painting of General Tam above the fire place in the Blue Room
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  • A reflection of General Tam can be seen in the mirror beside this plate display in the Blue Room
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  • A World War II period photograph of a Dalyell in uniform
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  • A blue and white china plate display on the drawing room wall
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  • General Tam's Blue Rom, painted and paneled in the 1680s, concealing earlier decoration
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  • Earlier decoration revealed in the Blue Room
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  • General Tam untrimmed hangs above the fireplace in the Blue Room
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  • Scottish sculptor Charles Pilkington Jackson's Napoleon, a legendary foe of the Royal Scots Greys, the regiment founded by General Tam Dalyell
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  • The Laigh (low) Hall, originally two rooms, retains the original Jacobean fireplace, dated 1622
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  • The 'Gothicized" north front of the House of Binns in Linlithgow
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  • Trees in their autumn leaf line the pathway towards Foulis Castle
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  • The south elevation. The elegant ironwork, double-staircase, and first-floor doorway were added by Sir Hugo Monro about 1797
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  • Sweeping view of Foulis's barley fields with the Cromarty Firth in the distance
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  • The courtyard is flanked by outbuildings that originally housed services such as the laundry, dairy, and bakehouse
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  • The asymmetrical courtyard elevation. The longer, west (right-hand) wing was rebuilt in 1750-54 as a ballroom after the Jacobite burning
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  • Curling, like golf, was invented by Scots. A row of 1890s Victorian stones in their original panniers at Foulis
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  • Late 15th century "keyhole" gun loop, uncovered in a courtyard storeroom wall
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  • An 1897 curling match with a fine array of beards, moustaches, and bonnets
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  • A family photograph of the Victorian generation of Munros sitting in the garden
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  • A Munro of the late 19th century sporting the traditional family kilt and sporran
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  • A basket-hilted broadsword
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  • Another type of Munro tartan which is woven of different hues of red, yellow and green
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  • A Munro kilt with leather sporran decorated with a silver Munro eagle
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  • A Munro tartan kilt
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  • Kilts woven in the traditional Munro tartan spread over a four-poster bed
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  • A collection of family portraits lead up the stairs from the entrance hall
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  • The family portraits hang on the walls of the eighteenth century staircase in the post-1745 wing of the house
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  • A water colour and pencil drawing of the Munros' coat of arms with their Presbyterian motto, "Dread God"
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  • The Munros' staunch Presbyterian motto, "Dread God"
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  • The Great Seal of James VI of Scotland & I of England, dated 1615, one of many such documents in the muniment room
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  • Victorian chief Sir Hector Monro sharing a glass or two with a friend
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  • A studio portrait of Munro's in country dress
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  • Victorian fancy dress portraits abound at Foulis Castle
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  • Victorian fancy and military dress. The Munros have been fearsome warriors: Sir Robert Munro, killed at the 1746 battle of Falkirk, was the first commander of the Black Watch regiment
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  • A Munro in tartan military dress
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  • A spacious living room lit with three Georgian sash windows
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  • A Dutch marquetry armchair stands below a portrait in the drawing room
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  • The 31st chief, Sir Hector Munro, who moved back into the house with his wife, Violet, beginning its rehabilitation
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