I was very fortunate when I started out on this adventure as, by chance, I came across the work of Angela Downton. I bought quite a number of her laser cut motifs and windows and various pieces of furniture. There are two particular motifs that recur around this model house and one of them has been used very widely. It was used for covering the ceiling of the Great Hall extension back in October 2011 along with oh so many things.
Some of the ‘many things’
(click on an image to view gallery and see longer captions, also reach the link for larger image – below right of gallery)
Sometimes the illogicality of the order in which I do things surprises me. I do have an overall design plan, bit flimsy in some places and positively see-through in others, but there is one.
What has this thought/comment to do with the above motif and the current work on the model/house? I’m still moving forward on the chimney and the surrounding roof slopes, but it abuts onto the back left light socket area and where the twain shall meet needed so more detailed planning, rather than the previous wishy-washy ‘keep the roof covering the electric plug area as low as possible’ instruction that I had had in mind.
Looking around for possibilities and ideas
I’ve come up with one of my usual misplacements – i.e. badly placed ideas. Many medium and quite large (going as far as being humongous) houses of the later Elizabethan and into the Jacobean period seem to have had flattish roof leaded areas, from which sprouted chimneys etc. (see Charlecote Park, Hardwick Hall, Tissington Hall, Shurland Hall). Mostly these balustrades are along the grand frontages and down the sides. All beautiful each in their own way.
Here on the model I’m having a go at one such area but at the back and side, directly over one end of the long gallery. A silly place to put it as both the long gallery (at this point) and the flat roof will be facing the kitchen quarters and not some grand approach or garden outlook.
The leaded areas are often surrounded by decorative open stonework balustrades usually low and possibly set out in a fretwork and/or coats of arms or other cut design or sometimes with crenellations or cupola roof turrets or towers added as at Swarkestone Pavilion.
What’s possible here?
I’m still not sure about fretwork/cut out stone or brickwork as a way to go for me. Low I can do and some added decorative design is a possibility. And not stonework for me I think, but more of the continuing brickwork. I had a fancy for crenellations and may still add some, but for today I’ve been doing a tryout of a closed brickwork construction. More in the Tissington Hall fashion with a little added decorative working.
I’ll keep going with this layout whilst working forward with the surrounding chimneys, walls and roof and let you know how it goes.