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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 This rare resource for research and historical reference is one of the few private archives of its kind in the world, and the gradual digitalisation of our back catalogue will ensure that this extraordinary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

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  • Althorp is home to one of Britain's finest private collections of artwork, furniture, paintings and ceramics, each intriguing room of this magnificent family home has a fascinating story of its own
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  • The Princess of Wales Bedroom, as most people would assume, was not named for Diana but another beloved Princess of Wales.  It was Princess Alexandra, the wife of the future King Edward VII who came to visit the 5th Earl of Spencer (the Red Earl) at Althorp in 1863.  The room was renovated in 1911 ad retains a distinct Georgian style of decoration.  The large and luxurious bed is draped in fabric originally designed during the renovation.  Two portraits of note in the room are the painting by Spanish artist Murillo of a young princess and the other is a painting by the School of Leonardo da Vinci of a young lady that bears a striking resemblance to the Mona Lisa.
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  • The King William Bedroom was the State Bedroom at the time of the Second Earl of Sunderland. King William III slept here in 1695, when the bed canopy was covered in ostrich feathers.
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  • The King William Bedroom was the State Bedroom at the time of the Second Earl of Sunderland. King William III slept here in 1695, when the bed canopy was covered in ostrich feathers.
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  • In 1755, during a ball held for the 1st Earl Spencer's 21st birthday, he and his 17-year-old fiancée, Georgiana Poyntz, slipped away from the party with his tutor, a clergyman, and they were secretly married in this room. It was his mother's dressing room. They returned to the ball and danced with other guests so that no one would know of their secret.<br />
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Theirs was a famously happy marriage.
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  • In 1755, during a ball held for the 1st Earl Spencer's 21st birthday, he and his 17-year-old fiancée, Georgiana Poyntz, slipped away from the party with his tutor, a clergyman, and they were secretly married in this room. It was his mother's dressing room. They returned to the ball and danced with other guests so that no one would know of their secret.<br />
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Theirs was a famously happy marriage.
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  • The Spencer Gallery and Saloon at Althorp - This grand, central, hallway was once an open courtyard where visitors to the house would arrive and dismount their horses.
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  • Wooton Hall’s perfect balance of simplicity and grandeur makes a particularly bold impression, and the height of the room – almost the full height of the house – creates an appropriately dignified and perfectly proportioned entrance to the House
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  • In the South Drawing Room at Althorp House is an outstanding collection of portrait paintings, predominately by Sir Joshua Reynolds.
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  • In the South Drawing Room at Althorp House is an outstanding collection of portrait paintings, predominately by Sir Joshua Reynolds.
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  • Painters’ Passage at Althorp - the walls hung with artists’ self-portraits and the corridor studded with family busts.
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  • The Raphael Library at Althorp House
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  • The Raphael Library at Althorp House
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  • The Raphael Library at Althorp House
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  • The beautiful Victorian Rosewood dining table in the Marlborough Room can sit up to 42 guests.<br />
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The Marlborough Room was originally 2 rooms, at one time a billiard room and a dining room.<br />
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In 1911, the 6th Earl, Robert Spencer decided to open it all up and make one large dining room. In the time of the John Spencer, the 8th Earl, this was an elegant sitting room with Regency striped silk on the walls and contained some of the ballroom furniture now in the Picture Gallery.<br />
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The present Earl Spencer reinstated the Marlborough Room as a beautiful dining room with a set of George III dining chairs designed by George Seddon and Co. in 1800.
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  • The beautiful Victorian Rosewood dining table in the Marlborough Room can sit up to 42 guests.<br />
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The Marlborough Room was originally 2 rooms, at one time a billiard room and a dining room.<br />
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In 1911, the 6th Earl, Robert Spencer decided to open it all up and make one large dining room. In the time of the John Spencer, the 8th Earl, this was an elegant sitting room with Regency striped silk on the walls and contained some of the ballroom furniture now in the Picture Gallery.<br />
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The present Earl Spencer reinstated the Marlborough Room as a beautiful dining room with a set of George III dining chairs designed by George Seddon and Co. in 1800.
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  • The Sunderland Room
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  • The old Tudor kitchen has a vaulted ceiling and displays a collection of antique copper pots and pans
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  • The Chapel has an altarpiece by Paolo Veronese and his workshop, and two large paintings by Johann Carl Loth, a German painter active in Venice at the time
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  • The Roman Staircase has a vaulted ceiling and carved stone ornamentation
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  • The walls of the wood-panelled billiard room are lined with framed portrait paintings
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  • The wood-panelled walls of The Black and Yellow Bedroom are lined with gilt-framed masterpieces
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  • The State Bed in the Second George Room, originally supplied in 1795, was reduced in size and decorated with the royal arms for Queen Victoria's visit to the house in 1844
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  • The Heaven Room at Burghley House, one of Italian artist Antonio Verrio's masterpieces, with lifelike scenes from ancient mythology
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  • Italian artist, Antonio Verrio's masterpiece, the Hell Staircase, the ceiling painted with lifelike scenes from ancient mythology
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  • The drawing room features master paintings by artists such as Ludovico Carracci, Guido Reni, Orazio Gentileschi and many more
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  • Burghley House in evening light is reflected in the lake created by 'Capability' Brown
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  • Burghley House in evening light seen through one of the arches of the Lion Bridge, built by 'Capability' Brown when he created the lake
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  • Burghley House, one of England's greatest 'Treasure Houses' is silhouetted against the evening skyline and reflected in the lake created by 'Capability' Brown
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  • Burghley House, treasure house of the Cecil family, reflected in the lake in evening light
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  • Burghley House is a fairy-tale structure of towers and turrets, set in one of 'Capability' Brown's finest parks, seen here against a storm-laden sky illuminated by a spectacular rainbow
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  • Highclere Castle in the grounds designed by Capability Brown
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  • Highclere Castle in its Capability Brown designed landscape
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  • The library at Highclere Castle
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  • Detail of a desk in the library at Highclere Castle
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  • The library at Highclere Castle
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  • The library at Highclere Castle
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  • The library at Highclere Castle
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  • The Countess of Carnarvon with one of her horses in the grounds of Highclere Castle
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  • The Countess of Carnarvon with one of her horses in the park at Highclere Castle
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  • The Countess of Carnarvon with one of her horses in the park at Highclere Castle
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  • The baronial hall at Highclere Castle
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  • The baronial hall at Highclere Castle
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  • The staircase hall at Highclere Castle
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  • The baronial hall at Highclere Castle
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  • The baronial hall at Highclere Castle
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  • In a small study of the Sir John Soane Musuem in London stone antiquities, sculptures and grotesques are displayed on the walls under an ornate plaster ceiling
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  • The gallery designed by Sir John Soane to house his private collection of antiquities is crammed from floor to ceiling with Greek and Roman vases, marble busts and architectural fragments
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  • In the Sir John Soane Museum in London's Lincoln's Inn Fields a skylight in the miniature central rotunda lights a small library lined with mahogany bookcases and framed prints and drawings
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  • Curtains, pelmets and walls of yellow silk infuse the first floor drawing room of the Sir John Soane Museum in London's Lincoln's Inn Fields with a sunny golden glow
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  • The central gallery designed in the 19th century by Sir John Soane for his musuem in London's Lincoln's Inn Fields is filled with some of his vast collection of antiquities
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  • In the main library of the Sir John Soane Musuem in London mahogany bookcases line the walls on either side of the marble fireplace
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  • The Yellow Room in Nancy Lancaster's former home in Brook Street, London, once the headquarters of Colefax & Fowler
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  • The Yellow Room in Nancy Lancaster's former home in Brook Street, London, once the headquarters of Colefax & Fowler
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  • The library at Powis Castle
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  • The medieval exterior of Powis Castle towers over its magnificent terraced gardens
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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 Grand Staircase at Powis Castle, attributed to Captain William Winde, has walls which were decorated in 1705 by Gerard Lanscroon, a pupil of Verrio
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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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  • 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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  • Double doors opening from the Long Gallery at Powis Castle have been painted in a trompe l'oeil 3D effect
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  • Detail of the polished brass door knobs and keyholes of a double door at Petworth House
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  • A hand-written sign as a reminder to servants at Petworth House
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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 entrance hall to Petworth House has a stone-flagged floor
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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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  • The Carved Room at Petworth House features a pair of beautifully carved picture frames by Grinling Gibbons
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  • An enfilade of rooms looking from the North Gallery at Petworth House
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  • With its multitude of gables and chimneys, Knole House looks like a medieval village
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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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  • 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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  • A glimpse of the Great Hall at Castle Howard, 'a dramatic slice of Baroque Cathedral inserted into an English house'
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  • 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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  • The valley of Monzie, meaning "field of corn" in Scottish Gaelic
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  • The spacious poolroom also acts as a sitting room, with a fireplace and cosy chairs
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  • The library is more obviously Edwardian in its period, unlike many of the other remodelled rooms. Its modest fireplace decorated with blue, white and yellow tiles is flanked by matching carved bookcases
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  • The fruiting baroque carvings on the original Georgian fireplace are repeated in the Edwardian plasterwork above, framing an 18th century portrait
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  • An original swag from a chimneypiece that survived the fire in the dining room
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  • The "Wrenaissance' dining room, an homage to England's foremost seventeenth century architect, Christopher Wren
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  • An original Georgian caryatid on a fire surround that survived the fire in the drawing room
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  • Robert Lorimer Edwardian plasterwork in the baroque style
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  • The French Revival drawing room with Whytock and Reid settees; the Georgian fireplace, although damaged, survived the fire
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  • The staircase oculus, designed by Robert Lorimer in the neo-classical style
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  • The neo-baroque entrance to the drawing room, adorned with fruit laden swags under a broken pediment
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  • Lorimer's oval drawing room incorperates Paterson's original hemicycle
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  • Doric splendor of the hall. The columns are made from granolith, a form of concrete, to deter fire
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  • Side elevation of Paterson's 1797 fort, dwarfing the 1634 tower house
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  • A guest bedroom is furnished with a single four-poster bed and decorated with framed watercolours of birds
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  • The Duchess's turret on the private side of the castle is furnished with a George III state bed
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  • The private drawing room is furnished with comfortable sofas 'rescued' by interior designer Louisa Gordon-Cumming
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  • A contemporary family kitchen has been created in the family wing of the castle
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  • The family kitchen was designed with an emphasis on child-proofing
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  • Torquihil Campbell, 13th Duke of Argyll, in the Brown Library, now his study
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  • Torquhil Campbell, 13th Duke of Argyll, in the Brown Library, now his study
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  • On the private side of the house, the Green Library is where the family relaxes away from the public eye
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  • An example of the last surviving work of the French painters Girard and Guinand who decorated the walls and ceiling of the State Dining Room
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  • The low-key family dining room is in stark contrast to the State Dining Room, yet still furnished in a formal and traditional manner
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  • Branches of cherry blossom herald the arrival of Spring
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  • An original neo-classical mural is protected beneath gilt-framed glass panelling
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  • A detail of one of the Beauvais tapestries in the Tapestry Drawing Room
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  • A detail of the fine late 18th century neo-classical decoration to be found in some of the public rooms
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  • A series of refined neo-classical rooms were created by Robert Mylne in the late 18th century for the 5th Duke of Argyll
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  • A Scottish bonnet graces a porphyry urn on the hall table
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  • The Duke and Duchess of Argyll in the hall of the private wing of Inverary Castle
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  • The walls of many of the public rooms are hung with tapestries and floors laid with tartan carpet
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  • View of the town of Inverary across Loch Fyne
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  • Sir Joshua Reynolds's Winter, a portrait of Caroline Scott, 1777, in the dining room
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  • Scottish architect, William Burn, extended the house to accommodate a larger dining room
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  • The drawing room, with its crimson damask covered walls
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  • Boudoir ephemera
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  • The boudoir is a frenzy of needlepoint and rococo revival, every surface covered in a woven or plastered pattern
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  • William Burn's double height saloon, built in the early 19th century, provides a light and airy gallery from which to view the array of portraits and tapestries in the saloon and atrium
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  • View of the house from across one of two lochs (lakes) created by designer W.S Gilpin in 1832
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  • Topiary obelisks in the formal garden echo the angular box hedges that contain delicate flowerbeds
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  • A weathered stone urn in the grounds of Bowhill. It is remarkable the clock tower behind has survived, as the Dutchess of the day, when it was built in 1870, wanted the tower demolished
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  • The weathered curly hair and load of grapes of this whimsical bacchanalian statue in the garden have become overgrown with moss
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  • A grand stone staircase leading from the Victorian extention down into the formal gardens
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  • Scrolls, books and busts clutter the archivist's lair
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  • The library, furnished with books old and new
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  • Fringes and tassels bedeck needlepoint covered chairs
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  • In the jewelbox-like boudoir, a chinoiserie mirror hangs against Chinese wallpaper
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  • Louis XV chairs and writing table and a Boulle bracket clock lend a French flavor to the saloon. The portrait is by a studio of Van Dyck
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  • William Burn's double-height ceiling in the saloon provides the perfect setting fot Mortlake tapestries, woven ca. 1670, after Mantegna's Triumph of Caesar cycle at Hampton Court Palace
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  • A panorama of Westminster Bridge adorns the west end of the dining room
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  • An array of family portraits lines the stair hall. The yellow wall colour was chosen by the present duke's mother
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  • Hunting boots tucked conveniently under the stairs
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  • Hunting scenes and portraits - souvenirs of Bowhill as a sporting retreat - in the inner hall
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  • Entrance front created by Edward Burn in 1832
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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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  • 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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  • View through the doorway of the Georgian  morning room
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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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  • Kilts woven in the traditional Munro tartan spread over a four-poster bed
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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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  • A Munro in tartan military dress
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  • A well used marble pestle and mortar in the kitchen
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  • The vast kitchen, paved with a stone flagged floor still retains its original 18th century table
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  • A master class in Palladianism
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  • One of Adam's linking "Arcades"; the cupola was added about 1897
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  • The Dumfries coat of arms resting on a nest of thistles ornaments the pediment of the entrance front
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  • Landscape drawings decorate the wood panelling of a Victorian bathroom
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  • An Alexander Peter four-poster bed, its canopy decorated with fine carving, is one of eight in the house
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  • Detail of the carved crest of a Chippendale state bed, intricately covered in blue silk
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  • A grand Thomas Chippendale four-poster bed, newly furnished in blue silk damask, in the state bedroom
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  • Floor-to-ceiling bookcases clad the walls of the billiard room
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  • Sofas and antique chairs face a marble fireplace in the panelled library
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  • The wood panelled ibrary, furnished with antique chairs and floor-to-ceiling bookcases
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  • An antique screen stands behind a chair and table in a corner of the billiard room
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  • Comfortable armchairs and a carpeted floor contribute to the cosy feel of this living room
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  • A cheerful living room, modist in comparison to some of the grander rooms of the house
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  • A private study, furnished simply with a desk, upholstered chairs and a set of floral curtains
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  • Eighteen circular skylights, each one framed in a stucco boarder, light the music room
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  • An ornate carved frieze featuring children and birds playing amongst grape vines is an eye catching feature of the panelled music room
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  • Detail of one of the tapestries in the music room
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  • A spacious music room, its walls clad with wood panelling, the carved details also frame floor-to-ceiling tapestries
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  • An impressive antique, glass paned book case stands aganist one wall in Lord Dumfries's study
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  • Lord Dumfries's study, furnished with a large Turkish rug and antique desk
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  • Detail of an Alexander Peter chairback
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  • A bedroom of dressing room furnished with an antique free-standing mirror and matching needlepoint chair and firescreen
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  • View through an open door into the parlour, its windows dressed with golden yellow curtains, ruched under carved and gilded pelmets
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  • A felt topped card table for game playing in the family parlour
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  • Detail of the carved arm on a Chippendale chair, newly covered in silk damask
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  • Antique furniture in the family parlour has been newly upholsterd in yellow silk damask
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  • Doorway leading off of the pewter corridor
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  • Recently restored decoration in the pewter corridor, part of the Scottish architect Robert Weir Schultz's discreet enlargement of the flanking pavilions in the 1890s
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  • 18th century portraits flank the fireplace of the blue drawing room, while the floor is richly covered in an Axminster carpet of the same period
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  • Detail of one of the carved legs on a Thomas Chippendale settee in the blue drawing room
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  • William Mathie gilt-wood mirrors (1759) and George Mercer console tables make a grand display between the ruched blue curtains  of the drawing room windows
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  • The blue drawing room is appointed with an Axminster carpet (1755), William Mathie gilt-wood mirrors (1759), George Mercer console tables, and a Thomas Chippendale suite of elbow chairs and settees (1759), newly upholstered in silk damask from a pattern found in the house
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  • The Thomas Chippendale furniture in the drawing room has been restored to its former glory with new blue damask upholstery. The Axminster carpet dates from 1755
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  • The design of the fruit and vegetable swag in the pink dining room is attributed to Robert Adam
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  • Two red, white and black tureens form part of a Wedgewood Etruscan dinner service, dating between 1785 and 1790
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  • William, fifth Earl of Dumfries, builder of the house, by Thomas Hudson
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  • Underneath the lavish, leafy scrolls of a rococo celing hangs an extravagant eighteenth century Murano chandelier
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  • William Mathie`s jacobo Bassano canvas in the pink dining room is somewhat out staged by a colourful flower arrangement on the dining table
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  • The pink dining room is a study of classic rococo plasterwork, created by John and Robert Adam
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  • The pink dining room, its ceiling decorated with intricately worked stucco foliage
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  • An antique astrolabe displayed between the classical columns of the entrance hall. A gilded coat of arms can be seen above
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  • Light filters through the windows and glass pained door onto the stone flagged floor of the entrance hall
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  • The plasterwork in the spacious entrance hall was coloured and gilded in 1877
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  • A leather notebook, or possibly blotting pad, embossed with the name of the house
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  • The grand, Palladian facade of Dumfries House
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  • A dramatic south-east view of the pinnacled roofscape of Drumlanrig
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  • The east terrace was restored as a topiary garden in 1978 following the 1738 plan
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  • The swagger of the north entrance front: the staircase was inspired by the sixteenth century Chateau de Fontainebleau; the 1682-84 clock tower, by the contemporary cupola of Holyroodhouse
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  • The north side of the inner courtyard with two of the four staircase towers. Originally an open loggia, it was glazed in the early nineteenth century to form the present entrance hall
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  • A carved doorway on the south garden front, its weathered pink sandstone facade green with age
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  • The gothic undercroft of the north entrance front
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  • A portrait of the dancing master, Signor Giustinelli in the serving room
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  • A portrait of the cook, Joseph Florence, is one of four portraits of members of the ducal household in the serving room
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  • A portrait of Dr. Graham of Dalkeith in the serving room, next to the dining room
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  • A portrait of an unnamed courier - atributed to Martin Quadalin, in the serving room
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  • The portrait of the first Duke of Queensbury, builder of the house, hangs centred on the wall of the dining room
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  • The dining room: created in the nineteenth century out of two rooms when the Jacobean ceiling was installed.
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  • The ante-room is lined with early-eighteenth century chairs and a daybed in original velvet coverings
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  • Enfilade leading through the drawing room and anteroom to the state bedchamber in Drumlanrig Castle
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  • The Queensbury coat of arms and the family crest - a winged heart - can be found all around Drumlanrig. This marble example is on the drawing room fireplace.
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  • The drawing room is hung with family and royal portraits and appointed with eighteenth century French furniture
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  • Portrait of Queen Henrietta Maria, Queen Consort to Charles I, from the studio of van Dyke, hangs in the morning room
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  • Early 18th century portraits on the panelled walls above the oak staircase, installed in 1697
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  • The oak staircase installed by the second duke in 1697. A Grand Tourist who fell in love with St Peter's in Rome, he borrowed Bernini's barley-sugar column
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  • A romantic prospect of Drumlanrig Castle in sweeping parkland, with its baroque turrets and colonnade
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  • A portrait of King William III by Godfrey Kneller hangs in the staircase hall
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  • Curators carry a painting up a wooden staircase
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  • A chair back partially obscures a portrait of an old woman
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  • This Neoclassical portal features Courland lions and vases on top of stone pillars with a view of the stables beyond
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  • Set upon an escarpment, the house is aligned with Bass Rock, a volcanic island in the Firth of Fourth. The landscaped gardens were designed to lead the eye down an avenue of trees to the rocky promontory in the distance
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  • The front of Balcaskie looking out onto extensive lawns on either side of the drive. The two squared pavilions on either side of the main building were added by William Bruce
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  • Monumental terracing falls away from the garden front to an avenue of trees and the sea beyond
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