02 September 2011

Fight Club


Angelica Kauffmann's 1787 portrait of Edward Smith-Stanley, 12th Earl of Derby, with his first wife, the former Lady Elizabeth Hamilton, and their heir, the future 13th Lord Derby. Don't let the happy scene fool you—the countess ended up running away with another nobleman, bearing an illegitimate daughter, and expiring at an early age.


Over the summer, members of The Friends of Honeywood Museum convened at the site of a now-demolished 18th-century country house in Surrey, England, to discover evidence of an architectural curiosity: a cock-pit built for Edward Smith-Stanley, 12th Earl of Derby, a Georgian Croesus whom historian Alistair Rowan once described as “one of the Adam brothers’ most opulent patrons.”

While steering well clear of animal-rights issues in this space, I do want to go on record with my fascination with this project—and not only the archaeological dig, which unearthed nothing relating to the cock-pit, though its participants fished up antique brick foundations, the remains of 18th-century plaster architectural details, and a 1903 farthing. What impresses me most with The Oaks is Lord Derby’s ingenious solution for fulfilling his at-home gaming desires. Designed as a mini-stadium for watching angry roosters maim each other in the name of sport, the earl’s cock-pit was integrated into The Oaks, his dog's-breakfast of a country house.

The Oaks, as seen in an 1809 engraving.

The building, which has been little studied, appears to have been a picturesque mishmash, set in the midst of a handsome park with gentle hills and painterly clumps of trees. Architectural historian Nikolaus Pevsner, for one, gingerly called The Oaks "large and irregular." (One suspects he really meant "ungainly and unfortunate" but couldn't bring himself to write the words.) Architect Robert Taylor designed its initial Palladian-villa phase in the 1750s and expanded that in 1765 for Lord Derby's paternal grandfather.


A view of the interiors of the temporary pavilion designed by Robert Adam in 1774 for The Oaks, Surrey. Lavishly plastered, richly statued, and comfortably furnished, the pavilion was built for a party celebrating the union of Edward Smith-Stanley, Lord Strange, heir to the 11th Earl of Derby, and Lady Elizabeth "Betty" Hamilton.


In 1774, in order to celebrate his forthcoming wedding to a daughter of the 6th Duke of Hamilton, the young aristocrat commissioned Robert Adam to erect a grandiose pavilion alongside. The temporary structure was built for one purpose only: to serve as the centerpiece of a fête champetre, a country-theme entertainment whose extravagance bedazzled Georgian society—Parliament actually went on hiatus so its noble members could attend the fancy-dress shindig. By the end of the century, The Oaks had again increased in size and appearance, a drizzle of castellation giving it the countenance of a fanciful castle. It was sold out of the Stanley family in the mid 19th century and razed to the ground by 1960.


Eighteenth-century gentlemen attending a cockfight.


Now back to Lord Derby's cock-pit. As a writer observed in the weekly journal All the Year Round in 1878, cock-fights had been popular for ages but were all the rage in the 18th and 19th centuries. "In those old times, nobleman competed in the cockpit rather than at agricultural shows, and game-cocks were bred instead of short-horns," the reporter explained. "The 'old Earl of Derby' [the subject of this post] is reported to have had many a main of cocks fought in his bedroom, as he lay sick for the last time." His Lordship's favorite fighting fowl came from his own flock of Black Breasted Reds, the roosters of which possessed white legs, "claws strong," and "nails long and white," according to his son and heir's gamekeeper. (The breed is readily obtainable today, though the white-legged variety seems to be a rarity.)

Lord Derby's best-known cock-pit was erected in 1790, in the Lancashire village of Preston, where he also established a well-known race track. (Horseflesh was the aristocrat's primary hobby, in fact, and he was the founder of the Derby and Oaks races.) Unlike the cock-pit at The Oaks, the cock-pit in Preston was a freestanding brick-and-timber building with a domed skylight and elegant arched windows, where the rakes of the day hung out in intervals between races. Not long after the earl's death in 1834, this den of violence and vice became, of all things, a Mormon temple.

Oral histories suggest that Lord Derby's cock-pit at The Oaks was located below the tripartite room shown at the bottom of this illustration. Trenches A, B, and C delineate segments of the recent archaeological dig. Image from John Phillips and Paul Williams's "Research Design for an Excavation at The Oaks, 2011," published by The Friends of Honeywood Museum.


The cock-pit at The Oaks was a private pleasure rather than a public provocation. It was hidden from view, incorporated into the mansion as an ingenious example of architectural camouflage. The architect (evidence suggests Adam was arguably the responsible party) concealed it beneath the floor of a tripartite room in the mansion's east wing.

As a 20th-century inhabitant of The Oaks recalled, as cited in a report posted online by The Friends of Honeywood Museum, "Furniture would be cleared from the centre of a room on the ground floor to the East and sections of the floor hinged back with benches on the underside forming a square with the pit in the centre." (To the full and fascinating study, go to Google and type in Cockpit Earl Derby Oaks; the report's PDF file will appear in the listings. Download and immerse yourself in the details.) Once the brutal match was over, the pit could be rinsed clean—cock-fighting was a bloody business—the hinged floor closed up, and the furniture moved back into place, with no one the wiser.

01 September 2011

Save D. Landreth Seed Company



On Facebook today, America's oldest operating heirloom-seed house, D. Landreth Seed Company, posted a plea to ensure that an astonishing garden resource will not go out of business in 30 days. This cannot be the fate of this extraordinary business and its centuries-old legacy.

Help reduce its looming $250,000 debt, which has been called in by an investor holding a note: buy a $5 mail-order catalogue now, buy two, buy three, buy more if the spirit moves you. If the debt is not wiped out by the end of September, D. Landreth Seed Company, founded in 1784 and owned today by Barbara and Peter Melera, will be no more.

Click here to read about D. Landreth Seed Company's time-sensitive plight.








07 July 2011

Details Count: The Vicomte de Noailles

A salon at L'Ermitage de Pompadour, a former home of Charles, Vicomte de Noailles, and his wife, Marie-Laure, in Fontainebleau, France. The 18th-century building—which was constructed for royal mistress Madame de Pompadour and is now owned by Noailles grandson Carlo Perrone—and its six-acre grounds are being sold for $9.3 million.


“My grandfather also planted scented flowers beneath the guest room windows so when they were opened in the morning, guests would smell their fragrance.”

So said Italian newspaper publisher Carlo Perrone in The New York Times on 30 June 2011, recalling one of his family's French residences, L'Ermitage de Pompadour, which recently came on the market after nearly a century in private hands. The six-acre estate in the commune of Fontainebleau, near Paris, was purchased in 1919 by Perrone's great-grandmother Madeleine de Noailles, Princesse de Poix. It is being sold through Emile Garcin.

The scent-conscious grandfather to whom Perrone refers was French society figure Charles de Noailles (1891—1981), an inspired patron of the arts who created some of the most inspiring gardens of the 20th century. The Vicomte de Noailles's strategic positioning of perfumed plants at his Fontainebleau residence is worth remembering when the subject turns to gardens or even spare rooms, for that matter. I, for one, would cultivate tuberoses beneath all my bedroom windows or perhaps Confederate jasmine or great masses of Oriental lilies.

21 May 2011

Many Thanks!


What a pleasant and unexpected surprise!

Interior designer Charlotte Moss called An Aesthete's Lament one of the three blogs she can't get enough of, along with The Style Saloniste and All the Best. She mentioned us in her recent interview in last Thursday's Home Section of The Washington Post. To read the whole thing, do click here.

I guess this means I'd better start producing more content, tout suite!

11 April 2011

Lights, Camera, Action!

Filmmakers are always seeking evocative locations for their movies, so it should come as little surprise that a handful of iconic houses have found their way onto the silver screen as integral plot devices. My favorites to add to any design groupie's Netflix queue?

The Hunting Lodge, decorator John Fower's famous country house near Odiham, Hampshire; for decades now it has been the week-end residence of British interior designer Nicky Haslam.

John Fowler's renowned Hunting Lodge, a Tudor-era folly given a fanciful brickwork façade around 1720, served as Vanessa Redgrave's residence in the 1968 Tony Richardson movie "The Charge of the Light Brigade." Fowler smartly used the location fee to build a garden pavilion on the grounds of the house.

A bedroom at Château de Groussay, longtime country house of Charles de Beistegui.

Château de Groussay, the widely admired country house of silver-mining heir Charles de Beistegui, was used as the primary set for director Marc Allégret's 1970 movie "Le bal du Comte d'Orgel." Yes, the movie is in French, but if you don't understand the dialogue, there is enough of Groussay on display, indoors and out, to make this romantic drama about aristocratic adultery in the 1920s (based on the posthumous 1924 novel by Raymond Radiguet) a cinema-library must-have.


Members of the cast of "Le bal du Comte d'Orgel" (1970) in Groussay's Salon Hollandaise.

05 April 2011

Well Said: Eugenia Huici de Errázuriz

Eugenia Huici de Errázuriz, circa 1940, from Mo Amelia Teitelbaum's "The Stylemakers: Minimalism and Classic Modernism, 1915—1945" (Philip Wilson Publishers, 2010)


"Everything has its place in life. Even objects guests don't normally see should reflect one's tastes and beliefs."

So said Eugenia Huici de Errázuriz (1860—1951), arguably the aesthete of all time, after a visitor to her house noticed a scarlet ribbon stylishly tied around the handle of a common household broom. A Bolivian-born mining heiress who sat for John Singer Sargent, inspired Jean-Michel Frank, supported Stravinsky, and collected Picasso, she left a lasting mark on interior design, choosing soulful minimalism over extravagant folderol.