I'm not big on military history, but you've got to admit that the innovation and design quality involved in kitting out the fighters and hunters of the past was pretty amazing.


With this in mind, I decided to go out on a noble quest to the Royal Armouries in Leeds to see some of these innovations in action.


The first thing to know about the Royal Armouries is that it's free entry, which is always brilliant to see, and open 10am to 5pm. There's easy public parking not far away at Clarence Dock for about £10 for all day and the museum is situated on the dockside and walking distance from the town centre. Often it has live demonstrations and particular workshops and talks that you can attend, as well as exhibitions that - like most museums- mix the cyclical with the permanent: on my visit the special attraction was a display of some the treasures of the Staffordshire Horde. In my case we were a little too early to see the live tournament fights etc, but if you're visiting and especially if you're bringing kids along it might be worth aiming for after 11 or 12 and going for the weekend slots when everything is a little busier.


So what's in the museum?

The main displays on offer were War, Oriental, Hunting, Tournament, Self Defense and the Staffordshire Hoard. But it would be a crime to review the museum without talking about THAT entrance hall...
The museum is arranged vertically over a few floors and linking them all is a wide spiral staircase that surrounds a stunning display of historical arms and armour. War has always been a game of numbers and this is clearly shown in the sheer amount of items arranged in a grimly beautiful piece of gleaming art, perfectly regimented like the armies that bore the equipment.

Impressive, to say the least.

The level of attention to detail, pomp and circumstance follows through the whole museum: there really are some very important artifacts on display that belonged to very famous figures in history and the museum knows just how to present them so you can appreciate their full view. The tournament section is perhaps the most star-studded, displaying armour from Henry VIII to the Holy Roman Emperor, as well as the Armouries' famous mask that appears on their logos. But the War section does a fantastic job of showing a timeline of quality items from wars throughout the ages, and manages to inspire a little of the awe and fear people must have felt when facing down these warriors due to their fantastic model displays. One, for example, sees a full-sized pair of armoured soldiers facing off against soldiers with lances. Another, in the oriental section, shows the largest example of animal armour in the world - a 17thc almost fully complete set of war elephant armour. And you'd better believe that they've mounted it on a fully-scaled model of an Indian elephant, complete with rider. Intimidating stuff.

   The museum is set perfectly to help visitors appreciate the level of skill and craftsmanship involved from practical pieces to the decorative gifts that were given to great leaders. One element that I found fascinating was when they deconstructed armour or turned it inside out so that you could see the clever construction of an armoured jerkin, for example, or the intricate embroidery on the inside of a helmet. Image was everything in war, but the hidden details had real value to them too.


Does the Royal Armouries museum glorify war?

Miniature commoners caught in the fray.

It's impossible not to be struck with awe and an appreciation for the beauty in these instruments of protection and death, but does this mean that the museum glorifies war in a way that's distasteful? For my part I would say no. It's important to appreciate the beauty of these items and the skill of their use, both for their own sake and also to enable us to get into the minds of our ancestors and how they responded to them. Tournaments, chivalry, bravery and pomp were all huge parts of how mainstream masculinity was (and is) constructed, and how nationalism and many symbols of each country's culture are expressed. The important thing is that even in the rooms where the idealism and romance of war is most expressed by the exhibits, the curators are careful to include important details that impress upon you the reality of war. Those large imposing figures aren't just picture-bait, but put you in the position of someone facing them in person - looking up into that killing machine on horseback. The insides of the armour show the realities of living inside of them. And even in tiny details - such as the miniature representation of a great battle - they take the time to show common people fleeing in terror.

Finally the 'self defense' room, which pulls us into the modern age, acts as a sobering example of what war and violence means for us now. Here you can find testimonies of people affected by gun violence, different types of brutal common weapons throughout the twentieth century, and a display case swimming with examples of real weapons seized from every-day people by the police. Oddly, at the end of this exhibit there is also a display of the different swords from The Lord of the Rings and The Hobbit, further emphasising the conflict between the fantasy and reality of violence and battles, even in the modern mindset today.
In the end I appreciate the blend of realities: the good and bad sides of these battles in our culture. And neither side is turned into melodrama.


So....should I visit?

Absolutely! Not only is it free, but it has some seriously important and valuable artifacts, all beautifully presented. Definitely worth your time.




When you visit, keep your eyes peeled for these...

I wonder if king Henry noticed...

• The craftsman's mistake on the patterning Henry VIII's duelling armour and his rushed-job attempt to fix it. (We've all been there, man!)
• A very cool demon's-mask for a horse in the oriental section.
• An unsettlingly anatomically correct realisation of a lady boar's nether region on one of the models. (That's..uh...good attention to detail there, buddy.)
• Armadillo-scaled armour in the oriental section
• Tiny, tiny full-plate armour for children.
• The biggest codpiece I've ever seen.
• A completely adorable chinese dog/demon face on a sword hilt.
• The most badass elephant & hunters vs tiger model you're ever likely to see.

I love York.

It's the ancient capital of the North and has always been a brilliant spot for a tourist who loves a bit of history. From the city walls to the Shambles to the minster, you can really breathe in the layers of age in this place, so it's of no surprise that the city's museums are also excellent. When I visited recently I decided to check out the biggest and most eclectic example: York Castle Museum.

The Clue's in the Name

York Castle Museum is a large Georgian style building that sits at the base of Clifford's Tower and has a significant amount of history of its own. It sits on the grounds of York castle, which was built as a timber structure by William the Conquerer in 1066 and included a prison. in 1244 it was converted to stone and was used until it fell into disrepair in the 1340s and recieved a further battering in 1644 during the civil war. By 1705 all but Clifford's tower was demolished of the old castle and in its place a new debter's prison had been built in its place. 1780 saw the expansion of a whole new women's prison alongside it and by 1835 it was modernised into a large 'model' prison with new buildings. Come 1929 the victorian 'model' prison was demolished, leaving the older buildings to be creatively used for the new museum.

So What's On Offer?

York Castle Museum is probably the biggest and most eclectic museum I've visited. (Though I've got my eye on you, British Museum. Soon, my precious, soon...) The museum itself is divided into two wings - the women's prison building and the debtor's prison building - but otherwise takes you on a relatively linear journey through several fascinating exhibits.

The Period Rooms

York castle museum has a brilliant attention to detail when it comes to the exhibits, and this is shown off to it's fullest in the period rooms. As you move through the exhibits you can peek inside full scale rooms set up from different time periods: the 1870s, rural 1850s (including the fascinating witch ball ornament), 1780s (including a dummy houseguest used to deter burglars), and the 1600s. Each section looks well lived in and has it's own curious features that are worth investigating.

Toy Stories

From the darker fussy period interiors you are suddenly pulled into a land of colour with the toy story exhibit which showcases toys from 150 years of history. It's a mixed bag: while there are some beautiful objects like the punch and judy dolls and 'Gilligan's Galloping' miniature carousel, the exhibit is bogged down in being cluttered with a mis-match of donated toys from the general public all dumped together in one place, which looks to be honest rather like a car boot sale. However, in here there is also another period room set up like a 1950s birthday party which is definitely worth a look for it's authenticity.

Gilligan's Galloping Carousel

From Cradle to Grave

As you move from the bright world of toys you head downstairs to a more traditional museum exhibit that shows the development of midwifery and of funeral culture. Here the mix between donated items and public testimony and more formal exhibits is more balanced and you get a real sense of the personal journeys of new mothers. Sat in the centre of the room is an imposing wax sculpture of a victorian funeral carriage alongside examples of the development of victorian mourning culture and all the curious layers of etiquette that came alongside it. Things brighten up again with a display on marriage and a series of wedding dresses through the ages. i was most interested by the 1940s example that stuck out like a sore thumb among the finer gowns, showing the humility and creativity needed from brides in the war years when rationing was at its height.

Part of the wedding display

The Hearth Gallery

Similar to the period rooms, this exhibit recreates a series of kitchens, showing how this centre of the home developed over the years with each new bit of technology. It's a perfect display for anyone looking for a bit of nostalgia, taking you through the 1940s and 1980s kitchens that so many of us will remember before guiding you through to older examples. look out for the absolutely massive taxidermy bull's head of 'Pat the Giant' in the farmhouse kitchen - he was a beast, weighting in at 254 stone back in his glory days.

One of the excellent storefronts of the Victorian Street

'Kirkgate' - The Victorian Street

This is easily one of the best museum exhibits in the country and is a really magical experience. Kirkgate was originally designed by the museum founder Dr.Kirk to perfectly replicate a real victorian street, filed with shop businesses that actually existed in York at some time or another. 
I came to York castle Museum as a very young kid and Kirkgate is the only vague memory i have of it: i remembered being completely blown away by the dark moodily lit streets, beautiful shop fronts and the fantastic real examples of horses and carriages that stood there. now as an adult revisiting the place it was everything I remembered and more. The street is surprisingly large with it's main street, back allies and several shops and homes that you can step inside and explore. It would honestly make even the most established movie set feel a little envious. The shop windows are authentic examples filled with original items and give you a real sense of the variety of items that were available for the casual victorian shopper, and these are supported by copies of real posters and adverts on the walls of the streets. What's more, there's a neat day-to-night transition that takes place, giving a real moodiness to the streets as darkness falls and a fresh optimism as day breaks. It's a brilliant experience that is a must for adults and kids.

A recreated apothecary

1914: When the World Changed Forever

Head across into the debtor's prison and you can enjoy a new exhibit that deals with the first world war. We've recently had the centenary of WW1 so you're no doubt familiar with the period of history, however for me it's always interesting to learn more about the 'less famous' world war: the one where there wasn't a simple good vs evil narrative and it was really just a load of allies clustering on top of one another because of a confused sense of political duty. The exhibit is as creative and varied as ever, with trenches recreated, train carriages set up, painted murals of the battlefield, as well as a whole series of interesting artifacts, such as the papier mache 'dummy head' that was used to draw fire in trench warfare. Towards the end of the exhibit things get a little naff with community project pieces, but that's my personal taste.

A Dummy Head to draw enemy fire

The Sixties

From the austerity of war you're booted into another street-eque exhibit that is set in the 1960s. the bright colours and classic icons are certainly engaging, but in my opinion it doesn't really tell you very much of substance about the 60s and seems more like a collection of common pop art that they've now got an excuse to sell you replicas of in the gift shop. but again, I've never been a fan so it's very much my opinion. the design of the exhibit itself is certainly pretty, though.

Sixties flower power

York Castle Prison

The final prison exhibit gives you a rather grim but interesting glimpse into the history of the museum itself, as you are taken down into the debtor's prison cells and the corrupt prison life of the 1700s is put on show. I like that it doesn't go full on York Dungeon on you and become an exploitative bit of tripe. Instead it speaks unflinchingly of life there while also catering to your natural curiosity. Interestingly Dick turpin himself was held at york prison in 1738 where is gaoler used to make £100 from selling liquor to Turpin's visitors while the famous highwayman entertained the crowds by recounting stories of his daring deeds. Elsewhere in the museum, the most interesting items for me were the preserved slabs of stone that held prisoner's graffiti from hundreds of years ago. there isn't a whole lot to look at down here in items, but you can really appreciate the architecture. In each cell there are projections of the usual am-dram actors recounting the stories of people who lived there. If you can get past the often iffy acting (let's be honest, it's a museum. the acting is always bad!) their stories are on the whole quite interesting.



So Should You Visit?

Definately! In my opinion York castle Museum is worth a visit for the fantastic Victorian street alone, but it also offers a very varied experience that's definitely worth checking out. Two thumbs up.

It's Hard to Resist a good Country House.

If you've been following this blog for a while now you've probably heard me waxing lyrical about Chatsworth House and the treasures inside, so when I popped across to the Isle of Wight as part of my holiday I was eager to seek out Osborne house - the family home of Queen Victoria for 55 years.

Victoria has always been an unusual character and while she is still perhaps England's most famous queen, at the time she was a figure of controversy and unpopularity. This was largely due to her extensive period of 'self-indulgent' mourning following her husband Albert's death and her stubborn seclusion from the public sphere: Osborne house is perfectly set to illustrate this, as well as the deep closeness of the family which would be the root of her subsequent sadness.

On the Isle of Man you can find Osborne house at East Cowes (PO32 6JX): it's an unusual building, seemingly plucked out of another country with its Italian/Mediterranean styling, and is situated on a huge sprawling estate. The key features aside from the main house is a private beach right at the bottom of the estate, where the Queen herself used to go swimming, and an adorable 'Swiss cottage' -where the nine children used to be educated-that features its own little allotment and miniature fort mimicking the trenches and barracks of the Crimean war that the children used to play in. The key theme of the house is family life and it offers an intimate insight to the balance between the domestic and the courtly duties.

Annoyingly for any tourists, there is no photography (even non-flash photography) permitted inside the house. When you walk through you are kept to an often narrow walkway that doubles back on itself, weaves up stairs and takes you on a fairly restrictive tour, but despite this there is plenty to see here. Osborne house has perhaps less charm than somewhere like Chatsworth that holds layers of differing types of history as the house has been built up over 500 years, but instead Osborne house acts as a time capsule for the Victorian fashion and sensibilities in both domestic life and courtly life. Queen Victoria's room reflects this the most keenly as it was quite literally locked up behind an iron gate after her death until Queen Elizabeth II granted permission for the chamber to be opened to the public.

The Victorian often dark, cluttered pattern-laden style tends to make rooms look smaller and less grand than they are, but this does in itself make the house seem more believably domestic. The nursery is charming with its display of old cots and toys (along with a very unsettling collection of porcelain baby-limbs that Victoria has cast). Similarly Queen Victoria's sitting room where both she and her husband Albert sat side by side to answer letters and the like shows beautifully how united the couple were in both the home and in their work. Despite all this, perhaps the most impressive room is the remarkable Durbar room which is a stunning white room utterly covered in Indian plaster-castings and mouldings, along with displays of exquisitely intricate gifts given to the queen from the people of India. This, combined with the Durbar corridor which holds a collection of portraits of Indian people by Rudolf Swoboda, shows that Osborne house was still a very stately place and that within it resided the leader of an Empire that, while she could never travel to it all, still impressed its duties and wonders upon her.

The Durbar Room (English Heritage)

In the end Osborne house will never be one of my favourites, but it is certainly worth an explore of the busy rooms and sprawling grounds if you ever find yourself on the Isle of Wight.

Stonehenge is Quite Literally One of the Wonders of The World, and It Was About Time I Visited It.

As you can tell from the blog I'm a big history fan and I live in England, so there was really no excuses for why - at 26 - I hadn't been to the monument before. It always seemed a little bit out of reach down south and there was always the anticipation that - after all the hype on TV - it would be a disappointment. So, if like me you've been curious to give it a try, I thought I'd share my experience of travelling to view these famous 5,000 year old rocks.


Oddly, one of the most impressive views of the monument is from the motorway.

When you only see stone henge through the lens of TV and movies, it's hard to get a sense of scale or importance of the monument. You're told all about how it was a ritual and sacred site, and how near-impossible a task it must have been for ancient peoples to haul these stones out from as far as Wales, but it's all absorbed without any real context. For this reason my first impression of the Stones as glimpsed by the motorway will always be what wowed me the most.

Stonehenge from the car heading back out -
I couldn't quite get a view from the entrance in
which was more impressive due to the elevation

Situated somewhere above Salisbury, in the middle of a field, modern life has built up around Stonehenge but left it still quite remote. First you have wide open, flat fields and modern roads for miles around and then all of a sudden the ring of stones is picked out in the distance, bizarrely exposed amongst the vast flat rural landscape. The sharp contrast made it magnificent and from this distance you can see the real scale of the place as a colourful outer-ring of tourists swarm around the structure. Also, at this distance, you can see the little ghosts of bumps and notches in the fields which, when you finally get closer, can be identified as burial mounds and barrows, which give a real authenticity to the countryside as a sacred space - equal parts peaceful and slightly eerie.

Keep on driving and, about a mile away, you finally get to the visitor centre.

Visitor Centre

In a running theme, this too is stuck oddly in the middle of a field that happens to have a car park. The centre was a hub of tourists from all nationalities, often in coach parties, and held a cafe, tiny museum, gift shop and a cluster of reconstructed neolitic houses that you could explore. Technically, as Stonehenge is a protected world monument you can go visit it for free. The cafe, toilets and gift shop were all open access and you could easily walk the mile or so across the fields to the stones themselves on your own for free without being hassled by anyone. As it happened, we ended up paying for entry into the museum part (which was a little underwhelming if you'd already picked up the far more detailed visitor's guide). The price also included the use of the frequent shuttle-buses to the site.

One bus ride later and we were at the stones

One of the biggest criticisms that I'd heard about Stonehenge was that you are "soooo far awaaaaay" from the stones themselves that it renders the visit pointless, which is a load of rubbish. While on all days apart from the solstice festivals you are restricted from going too close to the stones, the walkway was a ring that still brought you quite close to them, crossing between the iconic 'Stonehenge stones' and the other smaller bluestones, 'slaughterstone' and heel stone that make up the site. You could appreciate the size and texture of the stones very easily and the exposed nature of the site made everything feel very natural.

The stones themselves were beautiful, with huge crows around them like sentinels and butterflies in the fields around them. The stones were both a part of the landscape and impressive alien. What blew me away most of all was the notches that you could see on the disassembled stones, which had been carved out in order to effectively click the lintel stones to the pillar stones - a little engineering detail that you never really see on TV. There were signs showing suggestions for how they were transported, either on wooden rollers and then through a mixture of creative ditches to lever the stones into place and wooden scaffolding, which was fascinating. Also explained was how the site was made up of layers, each more ancient than the last.

First, there was a large circular ditch and bank that was cut into the chalk landscape which was built at around 3,000 BC, shortly followed by upright timbers or small stones situated within 'Aubrey holes', joined by smaller pits of unknown function. The central cluster of the main stones were brought in at around 2,500 BC and arranged in circles and horseshoe-shaped layouts. Other stones were gradually added and, as time passed, the older stones were pulled out into new arrangements as the use was updated and the main large stones were brought in and completed at around 2,200 BC.
Interestingly, this final period of building syncs in nicely with the date of completion of the great pyramids in Egypt and shows us some of the difference between the two cultures that held similar ritualistic and religious goals in mind.


Once we'd toured the stones we decided to walk back the mile or so across the fields

Remains of a barrow burial displayed
at the Stonehenge museum

By taking this route you could get closer to the large burial mounds which cross periods known as the 'Normaton Down Barrows'. These were mainly studied by William Cunnington and his team in the 1800s. The earlier ones that match with stonehenge's construction period held no signs of wealth but their situation indicated those buried within were wealthy or important. The second set, a little later and known as the 'Wessex Burials' were part of a new society that valued displays of their wealth in death and contained bronze, gold, jet, incense and amber within them. Some of the finds from the barrows, including some of the skeletons and ashes of their residents, are displayed at the visitor centre's museum.

As it was a hot day we didn't go exploring too closely, but the walk back was worth it if only to give you a real sense of the remoteness and special pilgrimage that visitors to the henge would have made. While there was evidence of some settlement here it was only of a temporary nature and people on the whole travelled to visit the sacred space. To this day people still make the little pilgrimage to appreciate the feat of engineering and faith that our ancestors constructed, which is very fitting.

So, should you visit Stonehenge too?

Stonehenge really is one of those 'bucket list' places, constantly referenced throughout our culture and with good cause. While in the end the museum and setting is quite humble, there are few places from the neolitic era of history that are quite so evocative. If you ever find yourself near Salisbury I would definitely take a detour and give the famous stones a look and learn more about them.





Sources
- Pictures of the Stonehenge Stones by me: Instagram PixelMagpie
-Pictures of the visitor centre     


Also, if you see yourself in any of my tourist-heavy pictures: A- Awesome! I'd love to hear what you thought of the henge, but more importantly B - please feel free to let me know if you'd not like to be in it and I'll happily either blur you out or remove the picture entirely. You can contact me at PreludesBlogOfWords@Gmail.com

I, like many ladies of the world, love Pride and Prejudice.

I generally dislike pure romances in books and films, but there's something completely charming about Jane Austen's love story about those two stubborn yet charismatic idiots. Without fail, the modern 2005 version always manages to make me feel all gooey inside.
If you've seen the film, then one of the prettiest pieces of cinamatography is the moment when Elizabeth Bennet goes exploring in the sculpture gallery of Mr.Darcy's home.

Keira Knightly in Pride and Predjudice (2005)

The remarkable room actually does exist almost completely unchanged (dodgy Darcy bust aside) and belongs to the beautiful Chatsworth House. As the manor house sits practically on my front door in Derbyshire, I decided to finally give it a visit.


Chatsworth House was originally built in 1553 by 'Bess' of Hardwick

A middle-aged Bess of Hardwick

A tenacious lady of the modest gentry and of unremarkable beauty, Bess lived through the Reformation, survived Mary Tudor's reign despite her family's allegiances to Elizabeth 1st, and thrived under the Virgin Queen. She had four husbands and built herself up to become one of the most important and well connected women in the country. 

While Chatsworth and its large estate was her legacy, over the years it has been through many changes, surviving to the modern day largely due to it's adaptability. When bombs over Sheffield threatened the house in the world wars Chatsworth responded by converting itself into a home for the schoolchildren of Penrhos college and by converting large sections of its grounds over to vegetable patches for the 'dig for victory' movement. In modern times Chatsworth openes to the public, hosts multiple events throughout the year, and remains an agricultural hub.  Time and time again debts and crippling death-duties have threatened to pull the house away from private ownership, but the families of Chatsworth have always managed to make the sacrifices required to hold on to it by the skin of their teeth.

The twin family property of Hardwick Hall had to be handed over to national ownership, but Chatsworth house is still in private hands for domestic use. As society marches onwards and the old world gentry lifestyle becomes perhaps less and less popular, the people of Chatsworth have worked hard to make sure that the manor house remains relevant.


 As soon as you step across the threshold there is no doubt of Chatsworth's value as a great hub for countless precious works of art.


The family has collected works of art throughout it's entire history, with the peak of collecting during the 'Bachelor Duke's tenancy in the mid 1800s. As you walk around the house you are greeted with stunning old-world architecture mixed with huge and beautiful geological specimens, centuries-old sketches by the Great Masters, ancient Egyptian statues and graceful sculpture, luxurious interior decoration and modern contemporary art pieces that have been included by the current Duchess and Duke.

One of the many painted ceilings at Chatsworth *

The public route of the house first takes you through the north sub corridor and leads on to the Painted Hall.

The North Sub Corridor originally acted as a  colonade which would shelter visitors as they walked across the courtyard, but a few too many chill and windy days inspired the 6th Duke (1790-1858) to enclose it as a room of it's own. He inlaid it with an intricately decorated marble pavement from Rome which now offsets beautifully with the other marbles in the house.

The Painted Hall is one of the most stunning rooms, with a great central staircase leading up to mezzanine balconies all around the edge of the room. The crowning glory of the space is the intricate and colourfully painted ceiling murals which are joined by many baroque painted imitations of woodwork and plasterwork that blend seamlessly alongside their real-life counter parts.

The Painted Hall *

Passing through the Chapel Corridor and the 'Oak Room', you then emerge in Chatsworth's own private Chapel.

 The Chapel is a protestant one and has remained largely unchanged since the first duke designed it in 1687-93. During this time the duke felt under threat by the Catholic King James I, so he designed the room so that the main carvings on the alterpiece depicted Faith and Justice: representing the balance between church and state.
While one of the smaller rooms, it is close to the family's heart and is still used on special occasions. For example, the current Duchess' granddaughter, Maud Cavendish, was christened in the room.

Chatsworth Chapel *

 Ascend the stairs and you soon come to a network of bedrooms, including the State Room.

 The first duke has high hopes that King William III and Mary II would visit him at Chatsworth a significant portion of his design choices (and no small expense!) was based around this expectation. Unfortunately the King and Queen never visited Chatsworth and never made use of the state rooms that he had put such careful thought in to.These rooms, nevertheless, are still designed to dazzle. One particularly impressive piece of art is the 'violin door' a trompe l'oeil - or optical illusion - by the Dutch artist Jan van ser Vaardt (c1653-1727). I challenge anyone to not think it's real when they first spot it!

The Violin Door

Later in the house's history the state rooms and the adjoining bedrooms would play host to guests, both illustrious and less remarkable. Queen Victoria and Charles Dickens are known to have stayed in Chatsworth, but also the state drawing room acted as the dormitory when the girls of Penrhos college relocated to Chatsworth during WW2. Currently (in 2014) this room has been converted back to how it would have looked at this time.  Plain Wooden panels are inset a few inches in in order to protect the lavish walls and lines of 1940s dormitory beds have been fished out storage to recreate the snug, functional sleeping quarters. While residency in the draughty manor house wasn't perfect for all involved, the girls enjoyed the novelty and even ice-skated on the 'Emperor Lake'.

Students skating on Emperor Lake, from the 'Chatsworth in Wartime' exhibition

As you walk on to the 'Old Masters Drawing Cabinet' and the various sketch galleries, it becomes apparent just how large Chatsworth's art collection really is.

The family of Chatsworth have been collecting for 16 generations and there is no shortage of taste when you view the sheer extent and quality of the collection on display. The old masters drawing cabinet is a comparitively tiny room, but it is full to the brim with wall to ceiling sketches from the likes of Leonardo da Vinci, Raphael, Remembrandt and Guercino.

In the adjoining South Sketch Gallery the room opens out again and is a homage to the 5th Ducess Georgiana. The most striking portrait is one of the lady herself, recently restored in all it's vibrant hues of blue, posing the duchess as the Goddess Diana.

Georgiana as Diana after restoration in 2009. Painted by Maria Cosway (1760-1838) *

While the sketch galleries are a treasure trove of art of the old masters and beyond, the North Sketch gallery is a confident display of the current Duke and Duchess' love for modern art and their desire to contribute to the ongoing collection. The North sketch gallery is a relatively narrow corridor which has now been handed over to display the installation of a DNA family portrait by Jacob van der Beugal. The countless panels are ceramic and depicts the family through an arrangement that imitates their real life DNA patterns.

Part of the DNA wall © Courtesy Chatsworth

 
Soon enough you reach the real show-piece for any bibliophiles who care to visit: the library.

According to the guidebook, there are over 30,000 books at Chatsworth, even after many of the collection (including some original Shakespeare folios) unfortunately had to be sold to raise money following the death duties incurred by the 10th and 11th dukes' passings. Illuminated manuscripts, original works by Thomas Hobbs and more art books of the old masters are among the well worn volumes. In the adjoining Ante-Library there is the striking veiled statue of the Vestal Virgin by Raffaele Monti, snug amongst the books.

Chatsworth library *

Moving on from the library you find yourself in the Great Dining Room

This is where the hardworking people who run and clean Chatsworth can really shine with the stunning table displays, which often change and act as their very own exhibitions. The first dinner to be held here was for the 13 year old princess Victoria as her first adult dinner, and it is still used as a hosting area on very special occasions to this day.

The dining hall

The final stop in the house (before the inevitable gift shop) is the stunning Sculpture Gallery

As I mentioned before, this room is perhaps the most famous due to its appearance in Pride and Prejudice, but it should be viewed as a stunning collection of art in its own right. The 6th Duke is largely behind these sculptures which were, for him, modern art that imitated the classical style. In 2009 the room was rearranged so that all his original sculptures sit together again as he has intended.
 While the only sculpture of great age is the bust of Alexander the Great (tastefully yellowed against the soft white of it's neighbours), the sculptures are still things of beauty and skill, draped on plinths inlaid with colourful minerals. My personal favourite piece is the sleeping lion that guards the exit. This was one of the pair of huge felines that Antonio Canova (11757-1822) carved as copies of the two lions made for the tomb of Pope Clement XIII at St Peter's in Rome.

The sleeping lion of Chatsworth *

 As you leave Chatsworth House there is much more to explore....

The large gardens are a beautiful place for a picnic and parkland, and elsewhere on the estate you can find the garden centre and farm shop, showing that the house will always be a buzzing business.

At the end of this month, on the 31st August,  the estate opens up once again  to Chatsworth's annual show, which I'm looking forward to exploring too.

Overall, Chatsworth is a fascinating and beautiful piece of living, evolving history and I encourage you to visit should you ever find yourselves in Derbyshire.




Sources
-Pictures marked with * are ones that I have taken myself during my visit in August 2014
-Your Guide to Chatsworth  - the guidebook for 2014
-Chatsworth Official Website
-Chatsworth Wikipedia (inevitably) 
-Bess of Hardwick by Mary S Lovell