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The shell grotto at St Giles House

One of the nominations for the recent prestigious Historic England Angel Awards was for the craftsmanship in the restoration of the shell grotto at St Giles House near Wimborne St Giles in Dorset. Chap and I were very disappointed when it didn’t win – we thought it deserved the title, but then again, we are a little biased as we know the team from Sally Strachey Conservation that undertook the work.

The grotto is featured in the video above, from 2:10 onwards.

The grotto was built in the grounds of St Giles House, the family seat of the Earls of Shaftesbury. It dates from the early 1750s, and was built by John Castles (d. 1757) of Marylebone in London. Unlike some other grottoes, this one is free-standing rather than built into a rock face or hill slope, and is built over a springhead in the grounds. It is now safely roofed once more and even though it is not quite ordinary-looking from the outside, nothing prepares you for the fantastical realm within.

The grotto comprises an entranceway leading to a central room – the inner chamber – with tiled floor and a fireplace. This is flanked on either side by a curving side passage.

The main room is described in the Shell Guide to Dorset by Michael Pitt-Rivers (1966) as ‘an attempt at an underwater room rather than just a shell room’, and you certainly get the sense of being in some mysterious and magical undersea kingdom. The decoration comprises shells of all sorts of kinds, sizes and colours – huge conches are fixed to the walls as well as tiny jewel-like bivalves – and the marine effect is heightened by the clever way corals and sparkling mineral crystals, such as quartz, have been incorporated in the decor, as well as the way the shells have been attached to branches to mimic life in a coral garden. (You wouldn’t know there are branches under there, as they have been fully covered).

The main chamber of the shell grotto at Wimborne St Giles. Photo by SPAB.

The main chamber of the shell grotto at Wimborne St Giles, following the recent restoration work. Photo by SPAB.

Old photo of the grotto used by the conservators as a guide.

Old photo of the grotto before it fell into disrepair, used by the conservators as a guide.

Apparently some of the original shells came from the Caribbean, courtesy of the father of William Beckford of Fonthill Abbey: we know Fonthill and its grottoes well. In the restoration many of the shells had fallen from the walls and part of the work included sifting and storing those that could be saved. Replacement shells were sourced from all over, including eBay and beaches!

Repair work under way, rebuilding the shells on to the lath and plaster work.

Conservation work under way, rebuilding the shells on to the lath and plaster work.

Conservation work underway.

Conservation work under way. Photo by Sally Strachey Conservation.

Photo by Sally Strachey Conservation.

The main chamber after the completion of the conservation project. Photo by Sally Strachey Conservation.

We were impressed with how meticulous and intricate the work was, and the great care that was being taken by the team.

The side passages are mainly decorated with huge, knobbly flint nodules, though hiding in amongst these are the occasional whale vertebra and piece of architectural stone. The floors of the passages are set with smaller flint pebbles, much like the wonderful grotto at Stourhead and the much smaller one at the Larmer Tree Gardens.

The grotto is described as ‘recently restored’ in the 1966 Shell Guide; clearly it fell back into disrepair not long afterwards as by the time of its listing by English Heritage in 1986 it is described as ‘overgrown and in a state of dereliction … The main grotto which cannot now be easily entered has walls lined with shells, fossils, coral and stone mounted on a lathe and plaster vault, partially collapsed … An important example of this type of grotto but now in a state of considerable disrepair.’ It was placed on the English Heritage Buildings at Risk Register, and its fate looked bleak.

However, in the past few years the present Earl of Shaftesbury instigated a sizeable programme of works to save not just the grotto, but St Giles House itself, which was also on the Register. The work was largely funded by various government bodies. The work done on the house won the Earl and Countess of Shaftesbury the Award for the Best Rescue of Any Other Type of Historic Building or Site at the recent Angel Awards.

Repairing the roof.

Repairing the roof of the grotto.

Huge congratulations to everyone involved in the work, both at the grotto and St Giles House, both of which are now firmly off the Register.

If you want to know more about John Castles’ grotto work, this blog post is an interesting place to start.

Further information and reading

The English Heritage Grade 2* listing of the grotto

Sally Strachey Conservation page about the project

A blog post about a SPAB visit to the grotto while the restoration work was underway last summer

RCHM (Royal Commission on Historical Monuments), Dorset vol V, 1972, p. 97, no. 6.

Newman, J and Pevsner, N, The Buildings of England: Dorset, 1972, p. 473.

Pitt-Rivers, M,  Shell Guide to Dorset, 1966, p. 141.

Jones, B, Follies and Grottoes, 1953, pp. 47-49.

N E From designs, #1: asymmetrical concave discs

The more I study Niels Erik From’s modernist jewellery, the more I like it. I don’t know whether it’s to do with my archaeological career, and the years spent working on finds from various excavations, but I am an inveterate typologiser. I just can’t help it. So I have noticed the variations in the various designs that N E From used in his jewellery.

NE From rose quartz ring, with a larger head at 16 mm diameter. For sale in my Etsy shop, Inglenookery: click on photo for details. Design #1.1.1

Usually he made a suite of jewellery types – rings, brooches, earrings, cufflinks, bracelets, necklaces, pendants – and in a variety of themes all riffing on a basic design, and using a range of different semi-precious stones. Putting my Linnaean hat on, I’m going to start with what I rather clunkily call his asymmetrical concave disc design. It probably has a proper name given to it by From, but I don’t know what that is.

The characteristic features of this design are a dished, concave disc of silver, into which is set, asymmetrically and near the edge of the disc, a cabochon semi precious stone (or sometimes a solid silver cabochon) held in a plain collet. The silver around the collet is oxidised to give a blackish effect, to contrast with the rest of the disc, which is untreated and silvery.

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N E From amethyst ring, 15 mm diameter head. NOW SOLD: click on photo for details. Design #1.1.1

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N E From black onyx ring, 15 mm diameter head. NOW SOLD: click on photo for details. Design #1.1.1

NE From amazonite ring with a smaller diameter head (13 mm). For sale in my Etsy shop: click on photos for details.  Design #1.1.1

NE From rose quartz and sterling silver ring, this one with a smaller head at 13 mm diameter. For sale in my Etsy shop, Inglenookery: click on photo for details. Design #1.1.1

This basic design is also found in brooches:

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N E From solid silver brooch, for sale by decotini on Etsy: click on photo for details. This design is also occasionally seen as a pendant brooch, with an additional small loop attachment on the back to allow it to be worn as a pendant. 45 mm diameter. Design #1.1.2

and earrings:

Niels Eric From modernist rose quartz clip on earrings. For sale in my Etsy shop, Inglenookery: click on photo for details. (NOW SOLD). Design #1.1.3

and cufflinks:

N E From tiger's eye cufflinks.

N E From tiger’s eye cufflinks. For sale at vintagecufflinks.com: click on photo for details. Design #1.1.4

and bracelets:

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N E From blue glass bracelet. For sale at scandinaviansilver.co.uk: click on photo for details. Design #1.1.5

and necklaces:

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N E From solid silver necklace. Design #1.1.6

and pendants:

Niels Erik From rhodochrosite and sterling silver pendant. Click on photo for details. (NOW SOLD). Design #1.1.7

N E From amethyst pendant. For sale at JohnKelly1880.co.uk: click on photo for details. Diameter 42 mm. Design #

N E From amethyst pendant. For sale at JohnKelly1880.co.uk: click on photo for details. 42 mm diameter. Design #1.1.7Okay, now we’ve got the basics out of the way, let’s start riffing.

Multiple discs in a row:

N E From Baltic amber moderist brooch. For sale in my Etsy shop: click on photo for details.

N E From Baltic amber brooch. NOW SOLD: click on photo for details. Design #1.2.1

Multiple discs in an equal sized trefoil arrangement:

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N E From amethyst brooch. NOW SOLD by VintageJewelsNL on Etsy: click on photo for details. Design #1.2.2

NE From rose quartz pendant.

N E From rose quartz pendant. #1.2.3

Multiple discs in an unequal sized trefoil arrangement:

N E From silver earrings. For sale on Etsy: click photo for details.

N E From silver earrings. For sale on eBay: click photo for details.

Rings of six discs:

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N E From rose quartz brooch.  For sale at Estate925 at trocadero.com: click on photo for details. Design #1.2.5

N E From amber pendant.

N E From amber pendant. Design #1.2.6

Discs interspersed with open circles:

Niels Erik From rose quartz modernist bracelet with five discs. For sale in my Etsy shop, Inglenookery: click on photo for details. Design #1.3.1

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N E From rose quartz bracelet with six discs. NOW SOLD: click on photo for details. Design #1.3.1

N E From rose quartz necklace.

N E From rose quartz necklace. (Possibly a bracelet later converted into a necklace?). Design #1.3.2

Discs with surrounding circles:

N E From rose quartz earrings.

N E From rose quartz earrings. Design #1.4.1

N E From chrysoprase bracelet.

N E From chrysoprase bracelet. Design #1.4.2

N E From amber necklace.

N E From amber necklace. Design #1.4.3

N E From amethyst pendant. NOW SOLD: click on photo for details. Design #1.4.4   

NE From Baltic amber pendant and chain. For sale in my Etsy shop, Inglenookery: click on photo for details. Design #1.4.4 

Discs with surrounding double circles:

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N E From chrysoprase brooch. NOW SOLD by VintageDesignSilver on Etsy: click on photos for details. Design #1.5.1

N E From rose quartz earrings.

N E From rose quartz earrings. NOW SOLD by PatriciaJon on Etsy: click on photo for details. by Design #1.5.2

N E From amber pendant.

N E From amber pendant. Design #1.5.3

Discs with surrounding ovals:

N E From amber bracelet.

N E From amber bracelet. For sale at vintage-jewels.nl: click on photo for details. Design #1.6.1

N E From rose quartz necklace.

N E From rose quartz necklace. Design #1.6.2

I’m sure there are plenty of other variations I haven’t come across yet. It’s fun looking!

Cabochon semi precious stone types I have seen used in the various designs:

Single arrangements:

Design #1.1.1 (ring): amber, amethyst, chrysoprase/green chalcedony, glass (blue), ivory, malachite, onyx (black), rhodochrosite, rose quartz, solid silver, tiger’s eye.

Design #1.1.2 (brooch): amber, chrysoprase/green chalcedony, glass (blue), rose quartz, solid silver.

Design #1.1.3 (earrings): amethyst, chrysoprase/green chalcedony, rose quartz, solid silver.

Design #1.1.4 (cufflinks): amber, rose quartz, tiger’s eye.

Design #1.1.5 (bracelet): chrysoprase/green chalcedony, glass (blue), rose quartz, solid silver.

Design #1.1.6 (necklace): solid silver.

Design #1.1.7 (pendant): amber (small and large), chrysoprase/green chalcedony (large), rhodochrosite (small), rose quartz (small and large).

Multiple arrangements

Design #1.2.1 (row brooch): amber, rose quartz, tiger’s eye.

Design #1.2.2 (equal trefoil brooch): amber, amethyst, rose quartz.

Design #1.2.3 (equal trefoil pendant): rose quartz.

Design #1.2.4 (unequal triple earrings): solid silver.

Design #1.2.5 (ring of six discs brooch): chrysoprase/green chalcedony, rose quartz.

Design #1.2.6 (ring of six discs pendant): amber

Discs interspersed with open circles

Design #1.3.1 (bracelet): amethyst, rose quartz.

Design #1.3.2 (bracelet): rose quartz.

Discs with surrounding circles

Design #1.4.1 (earrings): rose quartz.

Design #1.4.2 (bracelet): chrysoprase/green chalcedony.

Design #1.4.3 (necklace): amber.

Design #1.4.4 (pendant): amethyst, tiger’s eye.

Discs with surrounding double circles

Design #1.5.1 (brooch): amethyst, chrysoprase/green chalcedony.

Design #1.5.2 (earrings): rose quartz.

Design #1.5.3 (pendant): amber.

Discs with surrounding ovals

Design #1.6.1 (bracelet): amber.

Design #1.6.2 (necklace): rose quartz.

Sunday stroll: Larmer Tree Gardens

Yesterday we headed out to visit the Larmer Tree Gardens, near Tollard Royal in south Wiltshire. These beautiful Victorian gardens have the distinction of being the first privately owned gardens in the UK that were opened for the enjoyment of the general public.

The Larmer Tree Gardens: the Temple on the left and the General's Room on the right.

The Larmer Tree Gardens: the Temple on the left and the General’s Room on the right.

The gardens are on the Rushmore Estate, which is in the ownership of the Pitt Rivers family. In 1880 Augustus Pitt Rivers inherited the estate, and started work almost immediately on the gardens, the development of which continued over the entire 20 years that the gardens were open.

Bust of Augusts Pitt Rivers in the Temple at the Larmer Tree Gardens.

Bust of Augustus Pitt Rivers in the Temple at the Larmer Tree Gardens.

The gardens became a massive attraction, at one point entertaining 44,000 visitors a year. Thomas Hardy visited, and even wrote a poem celebrating an evening spent there. The gardens closed with the death of Pitt Rivers in 1900, and gradually fell into disrepair.

The Lower Indian Room (left) and the Singing Theatre (right) at the Larmer Tree Gardens.

The Lower Indian Room (left) and the Singing Theatre (right) at the Larmer Tree Gardens.

The central lawn area is surrounded by various structures and buildings; others are set further back in the gardens, linked to the central lawn by wide grass paths flanked by cherry laurel hedges. These hedges also enclose several small picnicking areas, all part of Pitt Rivers’ design to allow the maximum enjoyment of the gardens by his estate workers and the general public. Around the edges of the garden are woodland areas and a few herbaceous beds. However, it is the buildings around the lawn that characterise this extraordinary garden, though the free-roaming peacocks and macaws are pretty iconic too.

Free-roaming peacock at the Larmer Tree Gardens. In the background are the Singing Theatre (left) and the Lodge (right).

Free-roaming peacock at the Larmer Tree Gardens. In the background are the Singing Theatre (left) and the Lodge (right).

By the entrance gate at the southern edge of the gardens is the Lodge, which now houses the cafe and a private residence. Next to this around the lawn is the magnificent Singing Theatre, with its wooden structure and painted backdrop. The paintwork is peeling and faded, and mercifully the theatre hasn’t been restored from its gently and elegantly ageing state.

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The Singing Theatre at the Larmer Tree Gardens.

The Singing Theatre at the Larmer Tree Gardens.

The Funeral of Phocion by Nicolas Poussin (1648).

The Funeral of Phocion by Nicolas Poussin (1648), the painting on which the Singing Theatre painted backdrop is based.

Detail of the painted backdrop: you can clearly see the curved boards onto which the painting has been made.

Detail of the painted backdrop: you can clearly see the boards onto which the painting has been made.

Detail of the painted backdrop.

Detail of the painted backdrop. There are three doors hidden in the painting: one at the back and one at either side.

Next is the Lower Indian Room, and then the General’s Room. Both of these are traditional Indian buildings transposed to a bucolic English setting.

The Lower Indian Room

The Lower Indian Room at the Larmer Tree Gardens, with peahen resting on the front verandah.

The General's Room at the Larmer Tree Gardens.

The General’s Room at the Larmer Tree Gardens.

Detail of a window of the General's Room at the Larmer Tree Gardens.

Detail of an intricately carved window of the General’s Room at the Larmer Tree Gardens.

The final building around the lawn is the Temple, a beautiful small stone building in the Palladian style. It has a fireplace and a beautiful floor (including a maze mosaic) and decorative ceiling, and I can so easily picture Augustus sitting there with his pipe, reading a tome or working on his archaeological notes.

The Tenple at the Larmer Tree Gardens.

The Temple at the Larmer Tree Gardens. The reddish hue on some of the stonework is due to lichen.

The white marble fireplace in the temple at the Larmer Tree Gardens.

The white marble fireplace in the temple at the Larmer Tree Gardens.

The maze mosaic in the floor of the Temple at the Larmer Tree Gardens.

The maze mosaic in the floor of the Temple at the Larmer Tree Gardens.

Domed stone ceiling with carved sun-ray motif in the Temple at the Larmer Tree Gardens.

Domed stone ceiling with carved sun-ray motif in the Temple at the Larmer Tree Gardens.

A steep flight of steps lead down from the Temple to a series of ornamental ponds with small waterfalls, with a small grotto complete with statue of Neptune complete with trident.

The Temple at the Larmer Tree Gardens.

The Temple at the Larmer Tree Gardens.

View of the Temple across the ornamental ponds at the Larmer Tree Gardens.

View of the Temple across the ornamental ponds at the Larmer Tree Gardens.

Neptune in his flint nodule-lined grotto at the Larmer Tree Gardens.

Neptune in his flint nodule-lined grotto at the Larmer Tree Gardens.

Further behind the central lawn are two small thatched wooden shelters, Band View and Stag’s Arbour, and the corrugated iron-clad Jubilee Hall, built to celebrate the 50th anniversary of the reign of Queen Victoria.

Following Augustus Pitt Rivers’ death, the gardens were neglected, with the cherry laurels gradually taking over and swamping the carefully-maintained paths and small picnic gardens, and the buildings slowly falling into disrepair, with some rotting away all together: the octagonal base of the bandstand is still visible by the lawn, and another building base on the opposite side near the Singing Theatre. The restoration was started in 1991, and the gardens reopened in 1995.

The gardens have a wonderful atmosphere. There are deck chairs available for visitors’ use, as well as a croquet set, apparently. Peacocks roam freely throughout the gardens: the lady in the cafe told us that one of the peahens had two chicks, but we didn’t spot them. The males have lost their glorious tail feathers in their annual moult, but were still very spectacular.

A canny peacock lurking at the cafe garden at the Larmer Tree Gardens. Lovely bark on the Acer griseum tree in the foreground.

A canny peacock lurking at the cafe garden at the Larmer Tree Gardens. Lovely bark on the Acer griseum tree in the foreground.

My haul of shed peacock feathers.

My haul of shed peacock feathers.

And we loved seeing the pair of macaws sitting in an ash tree: such an unexpected sight for an English country garden!

Spot the macaws!

Macaws in an ash tree at the Larmer Tree Gardens.

They are totally free to come and go as they please, and apparently are often seen at the nearby Rushmore Golf Course.

An extra treat for children (and the young at heart) visiting the gardens are the eleven fairy doors hidden in the base of trees the gardens. We found three:

Peacock fairy door at the Larmer Tree Gardens.

Peacock fairy door at the Larmer Tree Gardens.

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Peacock fairy door at the Larmer Tree Gardens.

Scottish fairy door in a Western Red Cedar at the Larmer Tree Gardens.

Scottish fairy door in a Western Red Cedar at the Larmer Tree Gardens.

Scottish fairy door in a Western Red Cedar at the Larmer Tree Gardens.

Scottish fairy door in a Western Red Cedar at the Larmer Tree Gardens.

Red fairy door in a yew tree at the Larmer Tree Gardens.

Red fairy door in a yew tree at the Larmer Tree Gardens.

Red fairy door in a yew tree at the Larmer Tree Gardens.

Red fairy door in a yew tree at the Larmer Tree Gardens.

Luckily there’s a fairy door trail leaflet to help you find them all.

A little way away from the gardens is a massive and very strange Indian-style folly. We walked over to it: it is in the middle of a field, surrounded by quite a deep ditch, and there is a ride cut through the trees to allow a vista of the folly from King John’s House in Tollard Royal. Pitt Rivers owned King John’s House, a 13th century manor house.

The Indian-style folly near the Larmer Tree Gardens.

The Indian-style folly near the Larmer Tree Gardens.

The gardens are open at a small charge (currently £4 for an adult). Unsurprisingly they are a favourite venue for weddings, and there are also a couple of festivals held there each year (the Larmer Tree Festival and the End of the Road Festival). Consequently there are often times when the gardens are closed: I have driven to it quite a few times now only to be disappointed. Needless to say it’s highly recommended to check opening days and times online first!

I always think of the gardens being in Dorset rather than Wiltshire, possibly because Pitt Rivers is so inextricably linked with his groundbreaking archaeological work in Cranborne Chase in Dorset; looking at the 1:25,000 OS map of the area I see that the county boundary between Wiltshire and Dorset actually runs along the southern edge of the gardens. Unusual to park our car in Dorset to visit a garden in Wiltshire!

Timeline of the development of the garden buildings:

* 1880 The Temple

* 1881 The Lodge

* 1882 Stag’s Arbour

* 1886 Band View

* 1895 The Singing Theatre; The Larmer Tree studio attached to the Lodge

* 1896 Jubilee Hall

* 1897 Lower Indian Room

* 1899 The General’s Room

Can't resist it: I'm not a grily girl by any strecth of the imagination (I wear a dress about twice a year), but look at this gorgeous dress on a bride at the Larmer Tree Gardens.

Can’t resist it: I’m not a girly girl by any stretch of the imagination (I wear a dress about once a year), but look at this gorgeous gown on a bride at the Larmer Tree Gardens.

Larmer Tree Gardens website.

Outlander at Wilton House

One of my earlier blog posts was about Wilton House, the wonderful pile not too far from where I live belonging to the Earl of Pembroke, and its use in various films as a location.

I’ve just learned that the British-American television series Outlander has finished filming at Wilton House in the last few days. The film crew were in residence for two weeks, with Wilton House standing in for the Palace of Versailles. To fully create a French milieu, all the British furniture was moved out and appropriate French furniture moved in its place. Filming took place in the Double Cube Room, the Single Cube Room and elsewhere. The actors include Simon Callow, and the candle budget was £1000 a day!

Wilton House Double Cube Room.

Wilton House Double Cube Room.

Certainly as you drove past Wilton House you could see droves of trailers and trucks parked up inside the high estate walls. We’d wondered what was going on there, and now we know!

I haven’t seen Outlander, but apparently it’s hugely popular in the States, and has spawned something of an interest in the fashions and jewellery of the period: the Jacobite Rebellions in Scotland. These took place from 1688-1746 and the series is set in 1743.

So if any fans of the series are reading this, I have a good selection of Scottish vintage jewellery in my Etsy shop which would look just the part (click on the pictures for details):

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Fabulous Scottish craftsmanship!

Wilton House website.

Outlander official website.

More Frommery

Oooh, oooh, oooh, I have just put five new N E From pieces into my Etsy shop  each one a peach, and bringing my total number of Niels Erik From pieces to 15. Here they are all together:

All the Niels Erik From goodies in my Etsy shop at the moment. Click on photo for details.

All the Niels Erik From goodies in my Etsy shop at the moment. Click on photo for details.

So excited to have them! Aren’t they gorgeous?

N E From tiger's eye ring. For sale in my Etsy shop: click on photo for details.

N E From tiger’s eye ring. For sale in my Etsy shop: click on photo for details. (NOW SOLD).

N E From rose quartz modernist ring. For sale in my Etsy shop: click on photo for details.

N E From rose quartz modernist ring. For sale in my Etsy shop: click on photo for details.

N E From Baltic amber moderist brooch. For sale in my Etsy shop: click on photo for details.

N E From Baltic amber modernist brooch. For sale in my Etsy shop: click on photo for details. (NOW SOLD).

N E From green chalcedony ring. For sale in my Etsy shop: click on photo for details.

N E From green chalcedony ring. For sale in my Etsy shop: click on photo for details. (NOW SOLD).

N E From Baltic amber modernist ring. For sale in my Etsy shop: click on photo for details.

N E From Baltic amber modernist ring. For sale in my Etsy shop: click on photo for details. (NOW SOLD).

I’m not saying I’m slightly obsessed with Niels Erik From … okay, I am. Is there a Twelve Step Programme somewhere?

29 August 2015 update: I’ve added some more and my total is now 18, with another to come!

St Mary’s Church, Old Dilton

One of the things Chap and I love to do is to visit parish churches. There are some that strike a particular, atmospheric chord: redundant churches that are no longer used for worship. A good number of these churches are looked after by the Churches Conservation Trust. One of our favourites is not too far from where we live: St Mary’s Church at Old Dilton, near Westbury in Wiltshire. We love old buildings, and this one is a beauty.

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St Mary’s Church, Old Dilton, Wiltshire.

This is a 14th century church situated in a quiet, out-of-the way spot near the River Biss. The community it originally served, Dilton, was a thriving wool-producing settlement, with houses, a mill and the church. However, with the decline of the woollen industry in the 17th century, the village became eclipsed by the new, thriving settlement of Dilton Marsh some 2.5 km to the north, and the much-reduced Dilton became known as Old Dilton.

With the shrinking community, St Mary’s church struggled after the new church was built at Dilton Marsh in 1844. In 1956 St Mary’s was closed for congregational use, and remained in the care of the parish until 26 April 1973, when it was declared pastorally redundant. In 1974 it was vested in the care of the then-Redundant Churches Fund (now the Churches Conservation Trust).

The church’s plan is very simple, with a 14th century porch that might be a survivor of an earlier church; the main body of the building dates from the 15th century.

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St Mary’s Church, Old Dilton: the spire and south porch.

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St Mary’s Church, Old Dilton: the stumpy spire at the west end of the church.

The 14th century porch.

St Mary’s Church, Old Dilton: the 14th century porch.

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St Mary’s Church, Old Dilton.

View from the road of the north side of the church.

St Mary’s Church, Old Dilton: view from the road of the north side of the church.

Inside, there is no division between the nave and the chancel. The nave is filled with 18th century box pews, some of which are built to incorporate medieval benches. The triple decker pulpit dominates the south side of the nave.

Looking from the west end towards the chancel. The font is a 19th century copy of a 15th century font.

St Mary’s Church, Old Dilton: looking from the west end towards the chancel.  The triple decker pulpit is on the right (south side of the church). The font is a 19th century copy of a 15th century font.

The interior of the church, looking towards the gallery at the north end. The triple decker pulpit is on the left (the south side of the nave).

St Mary’s Church, Old Dilton: the interior of the church, looking towards the gallery at the west end.

Over the northern side of the chancel is a gallery, which was used as a schoolroom, and which is accessed by a separate door on the outside of the church. Another gallery is situated at the western end of the nave. The chancel has a very long and simple communion table, dating from the 17th century. The plain glass in the windows is modern, replacing what would have been the medieval coloured glass.

View from the west gallery of the chancel and the gallery on the north side of the church.

St Mary’s Church, Old Dilton: view from the west gallery of the chancel with its plain communion table and the gallery on the north side of the church.

The west gallery and box pews.

St Mary’s Church, Old Dilton: view from the pulpit of the west gallery and box pews.

The nave aisle on the north side of the church.

St Mary’s Church, Old Dilton: the nave aisle on the north side of the church, and horribly incongruous fire extinguisher.

St Mary’s has no electricity, and so no intrusive modern light fittings. At Christmas, candlelit services are held. They must be extremely beautiful. I have always wondered whether St Mary’s has been used as a filming location for a period piece, as the marks of the modern world on it are so light, but haven’t yet found anything to suggest that it has. It is certainly a very atmospheric and special place. Chap and I were lucky enough to do some work on the conservation of this church a few years ago: masonry work, replastering and limewashing.

Sadly the church has to be kept locked (a depressing sign of the times). The key is held by a neighbouring householder: details are on one of the church doors.

Sources:

The Church of the Blessed Virgin Mary, Old Dilton, Wiltshire Neil Skelton, 1986, Redundant Churches Fund.

Churches Conservation Trust website.

The Viking bird pendant from Hattula, Finland

I recently got this fab vintage piece for my Etsy shop, with its goofy face and its jiggly, dangly legs, and tried to find a bit more about it.

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The bronze bird pendant necklace by Kalevala Koru, based on a silver Viking bird pendant from Hattula, Finland. For sale in my Etsy shop: click on photo for details. (NOW SOLD).

I knew it was made by the Finnish jewellery firm of Kalevala Koru of Helsinki, one of the largest jewellery firms in Finland, and a further google truffle told me it was designed by Kimmo Virkkunen. I also learned that it was based on a late Viking-era hoard find. My ears pricked up. I love me a hoard.

Here’s the original on which the modern iteration is based:

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The Viking-era original sheet silver pendant. Note it doesn’t have any legs.

The caption in Finnish on the National Board of Antiquities webpage translates as ‘The bird-shaped pendant in silver is decorated with filigree. The pendant is part of a silver treasure found in Luurila in Hattula’.

A further google truffle tells me that the hoard was found in a field, part of a farm called Luurila in the municipality of Hattula in south-central Finland, near the village of Pelkola. The farm is on the south-west shore of Lake Renkojärvi. It is thought that the hoard was originally buried in a leather bag or some other container that had disintegrated; the ploughing of the field had spread the contents over an area of about 25 m². In 1906, after a few coins and a pendant had been found in the field, the site was excavated by the National Museum, and produced a significant number of finds.

The pendant dates from between 800-1025 AD, and the hoard was buried around 1040 AD. The hoard comprised silver necklets, pendants, and strap mounts, carnelian and glass beads, and 126 silver coins, including Anglo-Saxon ones from England and Byzantine ones with Kufic Arabic. The coins allowed the date of deposition of the hoard to be established to a very close date.

The pendant is made of sheet silver, with a filigree decoration. The bird’s legs are missing, but the suspension loop from which they presumably would have hung survives. The modern version by Kalevala Koru gives the bird the long, webbed feet of a waterfowl. Given the preponderance of lakes and inland waterways in Finland (there are over 55,000 lakes there, according to Wikipedia, which rather knock the 4,000 holes in Blackburn, Lancashire into a cocked hat), and the shape of the bird’s body, this does not seem like an unreasonable interpretation. It reminds me of a coot (Fulica atra) or a moorhen (Gallinula chloropus):

A coot ( Photo by Marcus Rowland.

A coot. Photo by Marcus Rowland.

Moorhen (Gallinula chloropus). Photo by Tony Hisgett.

Moorhen (Gallinula chloropus). Photo by Tony Hisgett.

but as the moorhen doesn’t have webbed feet I guess the Kalevala Koru one at least can’t be that.

Most of the information on the hoard in this post comes from Anglo-Saxon Coins Found in Finland by C.A. Nordman, published in Helsingfors in 1921 and which has been digitised and made available on the web by the University of Illinois as part of its Brittle Books Project. Hurrah for UIUC!

She sells sea shells part 2

I love nature jewellery, inspired by birds or flowers or animals. And it seems appropriate as beach time is on us that I have a lot of shell jewellery at the moment, either made from shells or depicting them. All are for sale in my Etsy shop: click on the photos for details.

Victorian mother of pearl and abalone necklace.

Victorian mother of pearl and abalone necklace. (NOW SOLD).

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Vintage shell earrings. (NOW SOLD).

Abalone and sterling silver pendant.

Abalone and sterling silver pendant. (NOW SOLD).

Mother of pearl and onyx cufflinks.

Vintage mother of pearl and onyx cufflinks. (NOW SOLD).

Vintage abalone and stainless steel brooch.

1960s abalone and stainless steel brooch. (NOW SOLD).

Vintage Art Deco mother of pearl dress clip.

Art Deco mother of pearl dress clip. (NOW SOLD).

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Vintage abalone heart pendant. (NOW SOLD).

Vintage 835 Portuguese silver bracelet.

Vintage 835 Portuguese silver bracelet. (NOW SOLD).

Vintage stainless steel and abalone brooch.

1960s stainless steel and abalone brooch. (NOW SOLD).

Vintage Carl M Cohr silver bangle bracelet.

Vintage Danish silver Carl M Cohr bangle bracelet. (NOW SOLD).

Vintage Mexican abalone and silver pendant and chain.

Vintage Mexican abalone and silver pendant and chain. (NOW SOLD).

Vintage modernist black abalone ring.

Vintage modernist black abalone ring. (NOW SOLD).

Antique Arts and Crafts blister pearl brooch.

Antique Arts and Crafts blister pearl brooch.

Vintage seed pearl ring.

Vintage seed pearl ring. (NOW SOLD).

Vintage Arts and Crafts style pendant with pearl dangle.

Vintage Arts and Crafts style pendant with freshwater pearl dangle. (NOW SOLD).

Shelly, pearly, silvery, nacreous loveliness.

Frommery! N E From, eleven not out …

Oooweeee, I listed two new Niels Erik From pieces in my Etsy shop today, bringing my total to eleven. Don’t they look good together?

Niels Erisilver jewellery for sale in my Etsy shop right now. Don't they look good together?k From (N E From)

Niels Erik From (N E From) silver jewellery for sale in my Etsy shop right now. Don’t they look good together? Click on photo for details.

I did an earlier post about him here, with information about his silversmithy, designs and maker’s marks.

Love me some Niels Erik Frommery!

23 June UPDATE: Blimey, I’m not the only one who loves a bit of Niels Erik action – since posting this on 16 June, three of my last six sales have been his pieces. He’s a popular chap, that’s for sure.

1 July UPDATE: Make that four of the last seven sales! I am adding N E From pieces all the time, so do keep looking.

Mystery tile part 3

I’ve written two posts previously about a mystery tile of mine, one that was similar to an Iznik tile design, but not quite right for a confident identification as such. The first post is here, where I describe the tile, and the second is here, where I went in to a bit more detail about possible Iznik parallels. The skilled ceramists of Iznik in Turkey produced exquisite tiles, tableware and other decorated and glazed objects from the last quarter of the 15th century until the end of the 17th century AD.

My tile.

The mystery tile. 22 cm x 22 cm.

The Iznik tiles didn’t quite match my tile, though. The interior of the flower spike in the Iznik examples have a painted fish-scale like decoration motif, whereas my tile had less-defined lumpy blobs with a fuzzier appearance. The background underglaze colours were different too: a crisper whiter colour in the Iznik examples versus the bluey-greyish off white of my tile.  So it seemed likely that these were takes on the same design by different ceramic producers. Was one a copy of the other? I would assume mine was a copy of the Iznik tile, as it is less refined and cruder in execution.

After I wrote the second post I contacted Anthony Slayter-Ralph, whose company, Anthony Slayter-Ralph fine art, was selling one of the Iznik tiles I had used to illustrate the post. He very kindly informed me that he thought my tile was Syrian, dating from the 16th or 17th century.

Syrian! That made me wonderhad the local ceramicists seen the beautiful Iznik tiles in the tomb of Muhi al-Din Ibn ‘Arabi (known as Ibn ‘Arabi for short) in the Sheikh Muhiddin Mosque in Damascus, and decided to make their own versions? Ibn ‘Arabi was buried in 1240 AD, but the Iznik tiles were added during a later remodelling of the site.

So armed with this knowledge, I was able to refine my searches a bit.  I came up with this page from a Christie’s 2006 auction, with an illustration of four tiles, including one, lot number 353, that looked a dead ringer for mine. Excitement! Closely followed by disappointment when it became apparent that the details for that particular lot were not available on the website for some reason. So close and yet so far!

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A tile similar to mine (no 353, top left) sold in an auction of Indian and Islamic works of art, Christie’s, London, 7 April 2006.

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Detail of the tile.

My tile.

My tile.

It’s not a perfect matchagain, the ‘pine cone/fish scales’ are painted, unlike on my example, and as there are no details for the Christie’s examplesize, country of origin, etcI am not much nearer knowing. But it’s the best match yet.

In my searches I came across this example too, one of a pair:

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Damascus or Jerusalem, 18th century. Sold at Christie’s.

which is not such a close match, but it’s the same design, albeit a rather fancier interpretation. This one is attributed to either a Damascus or Jerusalem manufacturer, and dating from later, from the 18th century. It shows how the design retained its popularity.

UPDATE 18 October 2015: A very kind gentleman, Peter Malone, left a comment on my second post about this tile, saying that he thought it was an 18th century Damascus tile, and that the motif was a stylised cypress tree. So that ties in with the general provenance being Syria rather than Turkey. He mentioned a newly-published book which might be of interest: Damascus Tiles: Mamluk and Ottoman Architectural ceramics from Syria by Arthur Millner, published on 1 September 2015 by Prestel, and said that a similar tile was recently offered for sale at Rosebery’s Auction house in London:

Tile for sale at Rosebery's Auctuon, October 2015, described as 'A Persian tile, 19th century, decorated with stylised foliage and leaves, 23 x 23cm'.

Tile for sale at Rosebery’s Auction house, London, 6 October 2015, described in the catalogue as ‘A Persian tile, 19th century, decorated with stylised foliage and leaves, 23 x 23cm’.

It’s the same design, but again, the treatment of the interior of the cypress tree (as I must now call it) is painted cross-hatching rather than raised bobbles as on mine. It’s also almost the same size as mine. Interesting!