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Cragside:Family Tree William Armstrong = Anne Potter" (1778 – 1857)

Anne Armstrong" = William Henry (1802 - 1828) Watson" (1796 - 1860)" m. 1826

William George Armstrong = Margaret Ramshaw " (1810 – 1900) (1807 – 1893)" m. 1835"

John William Watson" = Margaret Godman (1827 – 1909) Fitzpatrick" (? – 1922)" m.1859

William Henry Fitzpatrick" = 1.Winifreda Adye (1860-1914) m1889" " Watson - Armstrong" 2.Beatrice Elizabeth Cowx(1862 – 1934) m.1916 (1863 – 1941) 3.Kathleen England(1898 – 1971) m.1935

William John Montagu" = Zaida Cecile Drummond" Watson-Armstrong " Wolff" (1892 – 1972) (1896 – 1978)" m. 1917

Winifred Margaret" Watson-Armstrong" (1894 – 1912)

William Henry Cecil John = Baroness Maria - Teresa Robin Watson - Armstrong" Du Four Chiodelli (1919 - 1987) Manzoni " (? - 1999)" m.1947

Francis Armstrong 1

1! Those

who lived at Cragside are highlighted in the red boxes

Isabella Armstrong

Cragside Introduction

29/03/2014 15:56

Cragside:Introduction Creators William George Armstrong and his wife Margaret met as teenagers and enjoyed a long 58 year marriage. Although little is recorded of Margaret, she supported her husband in all his ventures, and their partnership created the beautiful grounds and house that we enjoy today. Whilst Armstrong was absorbed with his growing scientific and business interests, Margaret dealt with much of the day to day supervision of their grand project. It was an abiding passion for them both. In later years, Armstrong said simply 'I spent the whole of my spare time planning the transformation of that bleak Northumbrian moor into an earthly paradise. I cannot begin to give you the faintest idea of the pleasure it’s given me……for it has been my very life'.

Armstrong's career As a boy, William George displayed a keen interest in all things mechanical, as well as having a fascination for water.

But his parents were keen for him to make the law his profession, which he dutifully did, studying first in London with his brother-in-law William Henry Watson and then working with family friend and solicitor Armorer Donkin in Newcastle. Science and engineering, however, occupied much of his free time.

In 1840 he investigated the circumstances in which a coal miner had received an electric shock from steam. His researches into this phenomenon led to him being proposed, by Michael Faraday, and accepted as a Fellow of the Royal Society in 1846, whilst still practising as a lawyer.

The Whittle Dene Reservoir was constructed between 1845 – 1848 to give Newcastle and Gateshead its first truly fresh water supply. Armstrong, who was involved in the legal work of the project, realised that the pressure of the water would be sufficient to drive machinery on the River Tyne and set about developing hydraulic cranes. In 1847 he made the decision to leave legal practice and set up his own engineering company. He established a works at Elswick on a six acre site with a workforce of about 20, producing bridges, cranes and mining equipment. By the time he died, Elswick occupied 230 acres and employed over 25,000 workers. https://dl.dropboxusercontent.com/u/243044769/intro.html

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Cragside Introduction

29/03/2014 15:56

Armstrong worked long hours for many years, often sleeping at the works, and described himself as being gripped by “the inventor’s fever”. In the 1850s, Armstrong successfully developed and trialled breech loading rifled guns for the British Army. He gave the patents for the guns to the nation and in 1859 received a Knighthood. Between 1859 and 1862 Elswick manufactured 3,500 guns in various calibres.

Difficulties with conservative factions in the military establishment and opposition from competitors led, in 1862, to a suspension by the Government of its contracts with Armstrong, making life very difficult for his company.

In order to safeguard his business and employees, Armstrong resigned from all his government appointments and concentrated on developing markets abroad.

In later years, his firm built warships, including nine for the Japanese navy. It was also responsible for the design and installation of the Swing Bridge in Newcastle (1876) and of the hydraulic lifting gear for Tower Bridge in London (1894).

During his long life, Armstrong became a successful inventor, industrialist and scientist. He was also a generous philanthropist and benefactor, as was his wife. Amongst many charitable works, he built alms houses at Rothbury for his retired workers and endowed the College of Physical Science in Newcastle (now Armstrong College, part of the University of Newcastle).

Creating Cragside In 1863 Armstrong took a short break to Rothbury, which he had often visited as a sickly child. During his stay and afterwards, he became increasingly enthusiastic about building “a small house ….for occasional visits in the summertime.” He purchased an initial 20 acres in the Debdon Valley, which over the years developed into an estate of 1,729 acres with some 7 million trees and shrubs being planted in its creation.

The House The original house was built between 1863 and 1866 as a lodge for fishing and shooting parties. Its architect is unknown. Built using stone from the hillside nearby, it had around 10 rooms (see plan on Index page). Cragside was extended between 1870 and 1895 and beyond. During the period 1869 - 1884, Cragside’s architect was Richard Norman Shaw. https://dl.dropboxusercontent.com/u/243044769/intro.html

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Cragside Introduction

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First Phase The first phase of building (1870 – 1872) added the Dining Room, Library and Kitchen on the Ground Floor and two stories of bedrooms above. In the basement were a steam bath, a cold plunge, a hot bath and a shower as well as toilets and a changing room.

Second Phase The second phase (1872-1877) remodelled the Entrance at ground level, expanded the staircase, and added the Still Room and arches at either end of the Courtyard outside.

The Bee Room was added on the First Floor above the archway with a spiral staircase providing access to ground level. The Gallery and Gilnockie Tower were also built as an extension of the First Floor. As part of Shaw’s second phase of building, the Owl Suite of three rooms was built on the Second Floor during 1872 - 1874.

Third Phase During the third phase (1883–1884), Shaw created a new south east wing to house the Drawing Room.

After 1884 The Kitchen was extended and heightened, a new Scullery was built in the basement. The Brown Bedroom was added, with a corridor providing access to it. The Watercolour Gallery was completed after 1884. Probably in 1889, the ironwork of the Gallery stanchions was boxed in. The architect(s) of these areas are uncertain. Also around this time, a room was built behind the Drawing Room as a laboratory for Armstrong’s experiments on high tension current. This room was demolished to make way for the Billiard Room built in 1895. A new laboratory, called the Electrical Room (and later the Gun Room) was built alongside.

The family after Lady Armstrong died in 1893, and Lord Armstrong in 1900.

Armstrong’s death Having no children, Armstrong had appointed his great nephew as his legal heir. In turn, the great nephew’s son and grandson carried on the family line. The title ceased on the death of the 4th Lord. Cragside itself had passed to the Treasury and then to the National Trust, which first opened it to the public in 1979.

https://dl.dropboxusercontent.com/u/243044769/intro.html

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Further Reading

27/03/2014 16:08

Cragside: Further Reading Grenville S Cole “Arms and the Man – W G Armstrong, First Baron of Cragside” Published by Lady Armstrong, 1996 David Dougan “The Great Gunmaker. The life of Lord Armstrong” Published by Frank Graham, 1970. Reprinted 1991 by Sandhill Press Ron French and Ken Smith “Lost Shipyards of the Tyne” Tyne Bridge Publishing 2004 Henrietta Heald “William Armstrong – Magician of the North” Northumbria Press 2010 Peter McKenzie “W G Armstrong. A Biography” Longhirst Press,1983 Dick Keys & Ken Smith “Armstrong’s River Empire” Tyne Bridge Publishing, 2010 Dick Keys & Ken Smith “From Walker to the World: Charles Mitchell's Low Walker Shipyard” Newcastle Libraries and Information Service 1997 Andrew Saint “Richard Norman Shaw” Yale University Press 1992; 2002 Ken Smith “Emperor of Industry. Lord Armstrong of Cragside” Tyne Bridge Publishing, 2005 Kenneth Warren “Armstrong: the Life and Mind of an Armaments Maker” Northern Heritage, 2011 Kenneth Warren “Armstrongs of Elswick: Growth in Engineering and Armaments to the Merger with Vickers” Macmillan 1989 National Trust “Cragside” Guide Books, 1992 and 2007 OTHER USEFUL SOURCES Paintings and collection: Cragside Archives and Collections Management system www.bbc.co.uk/arts/yourpaintings/galleries/locations/national-trustcragside-6683 www.nationaltrustcollections.org.uk/cragside National Trust – “Cragside: List of Pictures and Sculpture”, 2008 http://www.nationaltrust.org.uk/document-1355766877652/ “Dictionary of Victorian Painters” compiled by Christopher Wood, 1978 “Artists of Northumbria” Marshall Hall, 2005 National Portrait Gallery www.npg.org.uk The Peerage – a geneaology of the peerage of Great Britain www.thepeerage.com Tyne & Wear Archives and Museums (including The Discovery Museum) www.twmuseums.org.uk Ken Wilson – extensive collection of researched information available on disk Census Returns for Cragside (1871 – 1911)

https://dl.dropboxusercontent.com/u/243044769/reading.html

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Index

25/03/2014 20:06

Cragside: Rooms Bamboo Room Bathroom Billiard Room Boudoir Brown Bedroom and Bee Room Butler's Pantry Dining Room Drawing Room Electrical Room Entrance Hall Gallery Garden Alcove Ground Floor Corridor Inner Hall Japanese Room Jigger Room Kitchen Kitchen Corridor Library Main Staircase Morning Room Owl Suite Red Bedroom and Dressing Rm Red Landing Scullery and Larders Study Turkish Baths Uniform Cupboard Upper corridor & Gallery stairs Watercolour Gallery White Bedroom Yellow Bedroom https://dl.dropboxusercontent.com/u/243044769/index.html

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Key

25/03/2014 20:34

Cragside:The Owners The Four Lords Armstrong There can sometimes be confusion about the Armstrong Lords and their titles. Throughout this Guide, the owners of Cragside are referred to as the 1st, 2nd, 3rd and 4th Lord Armstrong.

1st Lord Armstrong William George Armstrong 1810 - 1900 Knighted in 1859, created Baron Armstrong of Cragside, 1887. As he had no children, the title ceased on his death.

2nd Lord Armstrong William Henry Fitzpatrick Watson-Armstrong 18631941 The great-nephew of the 1st Lord, he changed his name from Watson to Watson-Armstrong by Royal Licence in 1889 and inherited the estate from his great-uncle on his death in 1900. The 2nd Lord was unable to take his great-uncle’s title because his father had refused it when asked by the 1st Lord to become his legal heir, and his father was still alive when the 1st Lord Armstrong died. Eventually the great-nephew was created Baron Armstrong of Cragside and Bamburgh in 1903 (thus becoming 1st Lord of the Second Creation).

3rd Lord Armstrong William John Montagu Watson-Armstrong 1892- 1972 (the 2nd Lord of the Second Creation).

4th Lord Armstrong William Henry Cecil John Robin Watson-Armstrong 1919 - 1987 (3rd Lord of Second Creation). As the 4th Lord’s son was adopted, he could not inherit the title and it lapsed. His two children inherited most of the estate, including lands and Bamburgh Castle. Cragside and 911 acres of land surrounding it passed through the Treasury in part-settlement of death duties due on the death of the 3rd Lord and then transferred to the National Trust in 1977, aided by a generous gift from the 4th Lord Armstrong. The National Trust first opened the house to the public in 1979.

Date of the House 1863 Sir William and Lady Armstrong purchased the initial 20 acres of land in the autumn of 1863. Although the first house was not completed that year, 1863 is generally acknowledged as the original date of Cragside. Additions to the house continued between 1870 and 1895. All dates of individual room extensions in this Guide refer to the diagrams shown on the Index page. file:///Users/geoffhughes/Desktop/CPRF_HTML/BBEditPreviewTemp.html

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Key

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Guide produced 2014 by Volunteers Contributors: Bridgit Coxon, Joan Davis, Alan Gidney, Marje Gilholm, Fiona Griffiths, Geoff Hughes, Diana Mills, Pat Rothnie, Judith Whiting Additional advice and information: Glenniss McNeal, Ken Wilson Proof Readers: Jenny Beaumont, Glenniss McNeal, Chris Pope Thanks to Cragside staff for all their support, especially Katherine Foggon, Paul Hawkins, Philip Newton, Alex Riddell, Andrew Sawyer Cragside volunteers can also view this guide online @ https://dl.dropboxusercontent.com/u/243044769/index.html

file:///Users/geoffhughes/Desktop/CPRF_HTML/BBEditPreviewTemp.html

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The Bamboo Room

27/03/2014 11:04

Cragside:The Bamboo Room Details First extension to house 1870 - 1872 Architect Richard Norman Shaw The Bamboo Room is situated above the Dining Room and is part of Shaw's first addition to the house.

Contents Ceramics Framed painted porcelain, "Peasant Boy resting on a Roadside". Italian School, 19th Century.

China White china Minton toilet set, bamboo decoration in natural colours.

Clock Mantel clock with gilt and enamel dial, in walnut case with simulated bamboo columns and domed top.

Curtains Not original. Blue, gold and cream material with blue, fawn and gold braid. Material Suki from the Fuji Collection by Warner.

Furniture

Birchwood bed - simulated bamboo.

Bedroom furniture almost entirely made from cherry in simulated bamboo design.

Howard & Sons of London Oak brass mounted coal box and shovel.

Oval wall mirror in a satinwood frame.

Square backed settee upholstered in carriage cloth and with a printed loose cover.

Carved wooden fire screen with silk damask panel in Japanese pagoda style frame.

Suitcase stand - pine.

Cherry dressing chest, simulated bamboo decoration.

Travelling writing desk bound in black leather, lined with green silk.

Patchwork Quilt Silk, the quilt was a gift from a member of the Cragside Care Group.

Photographs

https://dl.dropboxusercontent.com/u/243044769/bamboo.html

Photograph of Zaida, Lady Armstrong, wife of the 3rd Lord Armstrong, William John Montagu Watson-Armstrong, Sept 23rd 1919.

Winny, Winifred Margaret Watson-Armstrong, daughter of the 2nd Lord Armstrong, seated on a garden chair.

Oval bust portrait photograph of Winny, daughter of the 2nd Lord Armstrong, touched up with watercolour, in oval gilt frame with beading and bow motif on top.

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The Bamboo Room

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Sculpture

The Lion of Belfort after Frederic Auguste Bartholdi (1834 -1904).

(Belfort, a city in north-east France in the Franche-Comte region, is known as the City of the Lion, because of a huge statue of a lion, carved from pinky-red Vosges sandstone by Frederic Bartholdi in 1880. Bartholdi also sculpted New York's Statue of Liberty).

Parian ware bust of Robert Burns from Robinson and Leadbeater Ltd.

Travelling Chests

Green leather case, fitted out to take a lady's travelling set made of xylonite (an early form of plastic).

Contents - in case and displayed around the room.

Brown crocodile-skin travelling box lined in brown velvet containing travelling medicinal components.

Watercolour Paintings

"Temple of Jupiter in the Forum, Pompeii" 1881 by John Surtees.

"Temple ruins, house of Ariadne, Pompeii" 1881 by John Surtees.

"Ruins of the Roman Theatre Arles" 1882 by John Surtees.

"Isle of Capri from the excavation embankment, Pompeii" 1881

by John Surtees.

"Temple ruins with church dome in background" 1884 by John Surtees.

"From the excavation embankment, Pompeii" 1881 by John Surtees.

"Gibraltar" by General, Sir John Miller Adye.

"Shipwreck at Gibraltar" 1885 by General, Sir John Miller Adye.

"Wooded landscape" 1866 by Mary Martha Pearson.

"Winter mountainous landscape" 1860 by Alfred Newson.

"Bamburgh Castle" by Fred Dade.

"Burnfoot" by John Turnbull Dixon.

"Rothbury" by John Turnbull Dixon.

"Winter churchyard at sunset" 1869 by Samuel Phillips Jackson.

See Index of Artists for details

Wallpaper Bamboo plant pattern, a modern reprint based on William Morris's 'Willow' design. Specially printed by Coles & Co. 1978

https://dl.dropboxusercontent.com/u/243044769/bamboo.html

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The Bathroom

24/03/2014 12:01

Cragside:The Bathroom Details Addition to the house After 1884 ‘Interposed between Shaw’s northern gatehouse of 1874 and the first floor of his additions of 1870-2. The bathroom was canted out over the open space below.’ (2003 Guidebook) The Bathroom is situated above the Butler’s Day Room and adjacent to the Brown Bedroom. Accessed through the north eastern part of the First Floor Lift Lobby.

Contents Bidet Not original. Toilet to be reinstated.

Scales Salter’s compact weighing scales.

Table Assorted items eg razors, Nelson's patent inhaler for coronary respiration.

Wallpaper During repair work in 2006 a well preserved section of wallpaper depicting bird silhouettes in blue and red squares has been left exposed. No date available.

Washstand Eye bath and other toiletry items.

Area around Lift Shaft and Bathroom Electric Dinner Gong Could be operated by the Butler from downstairs to notify guests that dinner was about to be served. Made by Cox-Walkers of Darlington in the late 19th Century.

Fire Alarm This operates on a pull mechanism, and is not an automated system.

Lift Hydraulic lift primarily for use of servants to carry coal, warming pans, water jugs, basins and other sanitary china to and from bedrooms. Now electrified and is used to give less mobile visitors access to the first floor.

Pictures Prints of Landseer engravings.

Picture of William George Armstrong (the 1st Lord Armstrong) including a letter dated 24 Dec (no year) regarding a gift to a local political rival.

Dear Sir, We are foes till after the election but as the game won’t keep till then I thought it best to send it now.

Signed………………………Armstrong.

"Girl with Lilies" by Mary Lemon Waller.

Window Of Uniform Cupboard was originally part of the outside wall. https://dl.dropboxusercontent.com/u/243044769/bathroom.html

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The Billiard Room

24/03/2014 12:08

Cragside:The Billiard Room Details Commissioned by 1895 Armstrong Architect Frederick William Waller of Gloucester (1846- 1933).

The Billiard Room is in oak and walnut in the Jacobean style. It is toplit, using a glazed ceiling which has been tinted by the National Trust, giving the appearance of evening. There is also a south facing bay window. The room is heated by heating pipes under the seating on the Drawing Room side of the Billiard Room and by a coal fire.

Contents Billiard Table By Burroughes & Watts: bed made of slate, standing on a granite floor, resting on the rock below.

Certificates

William Watson-Armstrong's (2nd Lord's) Membership Certificate of the Oddfellows Society 18 February 1889 Iron & Steel Institute Certificate with Bessemer Gold Medal awarded to 1st Lord Armstrong 6 May 1891

Photographs

Drawing Room, Cragside Detail Angle of House, Cragside J E Craig US Navy F E [W?] Waller Christmas 1902.

Lord Armstrong, second owner of Cragside (two photographs).

Drawing Room, Cragside

Pictures Drawings by Richard Norman Shaw (1831- 1912), architect of Cragside, 1870 - 1884. These include:Fireplace in Drawing Room.

Bird's eye view of 'Tower etc' at Cragside.

Fireplace in Dining Room.

Rambling Sketches No 6 by Thomas Raffles Davison (1853 - 1897): this selection of drawings includes:Cragside, Chimney at Cragside, Iron Bridge, Entrance to Cragside, Entrance to the Courtyard (here, the North Arch, leading to the front of the House, is shown as a stand alone structure) and a View from the Crags.

The rest of the pictures:Siamese(?) painting of farmer (artist unknown) Siamese(?) painting of gardener (artist unknown) Royal Victoria Infirmary https://dl.dropboxusercontent.com/u/243044769/billiard.html

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The Billiard Room

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Royal Victoria Infirmary William Watson-Armstrong (1863- 1941) donated ÂŁ100,000.00 towards the rebuilding of the Infirmary; Launch of HMS Monarch from Elswick 30 March 1911 artist Mrs Lewis (Mary Ethel) Harcourt Soudan Ks and Soudan Ways

by J Oswald Johnson 1899 ( 1884 - 1967).

New Rood Screen, Rothbury Church designed by Arthur Benjamin Plummer (1855- 1925).

First World War Print, The Gordons by Charles Johnson Payne ('Snaffles').

Painting of William Watson-Armstrong, 2nd Lord (1863-1941) in the uniform of the Northumberland Hussars

by Thomas Bowman Garvie 1911 First World War Print, Jock by Charles Johnson Payne ('Snaffles').

Carved Oak Pulpit, Rothbury Church designed by Arthur Benjamin Plummer (1855- 1925).

Nazrullah Khan Crown Prince of Afghanistan (copied from postcards, not original to the house collection).

Nasr ed Din Shah of Persia (copied from postcards, not original to the house collection).

The Crown Prince and the Shah were visitors to Cragside on 15 June 1895 and 23 July 1889 respectively.

See Index of Artists for details Rush Seated Settles Beside the fire place are commercial Arts and Crafts items, dating from around 1900.

Score Boards The board to the left of the window is for recording scores in snooker and billiards the board to the right of the window is used in connection with the game of Life Pool.

Life Pool was a gambling game for up to 12 players.

A base stake is agreed and each player pays three times this to buy three 'lives'. Each player has a different coloured ball, some with spots to distinguish them from other balls of the same colour.

The players then attempt to pot each other's balls in turn, lives being lost as the balls are potted.

The first player to lose all his lives is allowed to buy a further life if he wishes; if he does not and withdraws from the game the additional life can be bought by the next player who is 'knocked out'; and so on.

The last player to still hold a life is the winner and wins the 'pool', the players' stake money falling into the box at the bottom of the score board when it is opened. The game was also known as spot or star pool; a modified version played today is called 'Killer Pool'.

Electrical Room Formerly the gun room. This room, which is currently awaiting restoration to its original appearance, was used by the 1st Lord Armstrong for his scientific studies.

https://dl.dropboxusercontent.com/u/243044769/billiard.html

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Boudoir

24/03/2014 12:09

Cragside:Boudoir Details Original house 1863 Architect Unknown This was part of the original small house and served as an upstairs drawing room.

Contents Carpet & Rug 19th Century Indian.

Ceiling Plaster compartments with stencil patterns (this was found during the National Trust's renovation of the room).

Clock Eight day painted dial longcase by Mary Young of Newcastle.

Fireplace Italianate, of red marble.

Furniture Adam style satinwood dates from 1880 (on loan from the V & A).

Pictures A collection of watercolours and drawings, including a fine watercolour of Cragside (unsigned and undated) which appeared on the cover of the 1997 Guide Book.

Others worthy of note are:Pencil drawing of Cragside 1872 artist unknown Pencil sketch on blue paper 1874 artist unknown Drawing of the scheme to raise the tower by Edward Schroeder Prior (1857-1932) and signed by Richard Norman Shaw Two oval silhouettes by Leigh 1903 of William Henry Fitzpatrick Watson-Armstrong (2nd Lord) and Beatrice Elizabeth Cowx, who became his second wife in 1916 See Index of Artists for details Wallpaper The current paper is a close copy of the original flocked wallpaper supplied by Cowtan of 1866 and has been reprinted from blocks in the V & A. It would have have been painted at a later date. Printed by Coles in 1978.

https://dl.dropboxusercontent.com/u/243044769/boudoir.html

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The Brown Bedroom and Bee Room

24/03/2014 12:09

Cragside:The Brown Bedroom and Bee Room Details A later addition to the house After 1874

Contents The Brown Bedroom (until recently known as the Armstrong Room) is now used a temporary exhibition space but was formerly another bedroom, with no access to the adjacent Bee Room.

The Bee Room was originally an isolated upper room accessed from the male servants' quarters of the North Tower, but there is no record of its specific use. It came to be called the Bee Room when bees took up residence under the floor from the 1930s. They were removed and relocated during rewiring of the house in 2006 - 2007.

https://dl.dropboxusercontent.com/u/243044769/brownbroom.html

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The Butler's Pantry

24/03/2014 12:09

Cragside:The Butler's Pantry Details Original house 1863 Architect Unknown

Contents Bell Board The electric bellboard would let the butler know in which room a servant was required.

Chests The family silver was locked away in large chests, currently displayed at the back of the room.

Flat Iron This was used to iron the newspapers to set the ink, which stopped it from rubbing off onto hands and clothing.

Linen Press This was used to press the table linen for the dining table. However, it could have been used as a book press.

Picnic Baskets Each of these contained a spirit stove and sandwich boxes which would have been taken up to the moors by shooting parties.

Telephone Cragside was one of the first domestic properties to have an internal telephone system which included a direct line to the Power House which was used to contact the 'Caretaker of the Electric Light' to instruct him to start the turbine before the lights were turned on.

Saddle Warmer This unusual object is intended to warm the saddle on a horse before the rider mounts.

Sink The shallow lead lined sink was used for washing the silver. The soft lining ensured that the silver wasn't scratched.

Soda Stream The brownish red cylinder is an early example of a water carbonator.

The Butler's Room The Butler's Room This small room next to the Dining Room was originally used as a store room. Its use after the first extension to the house is not recorded, but it may have been used as an office for the day to day running of the house, as the Butler's Pantry is very open to the hustle and bustle of the servants and kitchen staff going about their duties.

Unlike the rest of the house staff, the butler did not live in the house, having a cottage on the estate. The Cragside censuses note butlers living at Knocklaw, Addyheugh Lodge and North Lodge with their families.

https://dl.dropboxusercontent.com/u/243044769/butlers.html

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Dining Room

26/03/2014 10:26

Cragside:The Dining Room Details First extension to the house 1870 - 1872 Architect Richard Norman Shaw This room is considered to be amongst the finest remaining and unaltered Victorian domestic interiors in England.

Many of the furnishings on display today can be seen in H Bedford Lemere's photograph of 1891.

Craftsman James Forsyth of Kelso (Oak panelling / fireplace stonework) Heating Warm air through metal grilles in the skirting area of the bay window.

Pipes heated from a large boiler room underneath the Inglenook and extending half way across the Dining Room.

Contents Bell pushes In the panelling on either side of the Inglenook, these were in use in 1880 as shown in Emmerson's painting of Sir William George Armstrong, displayed on the opposite wall.

Carpet The carpet is fitted, woven in a single piece and thought to be the original. It has recently been been identified as a rare example of a James Templeton chenille - a soft yarn developed in the 1830's. The Templeton Carpet Factory in Glasgow was once the largest carpet manufacturer in the world and chenille carpets from here were a much sought-after status symbol. (Article in "The Scotsman" - 6 August 2013) Now subject to major restoration work (2014).

Carving All carving, both wood and stone, is by James Forsyth.

The sunflower, emblem of the Aesthetic Movement, is in evidence around the room - contained in roundels which Shaw called 'pies'.

(The sunflower decoration can also be seen in the Library and on the stonework of the house) Chairs Armchair designed by Robert Jupe for an exhibition in 1872. Green leather chairs manufactured by Boulnois of London in 1860. Believed to be from Lord and Lady Armstrong's first house in Jesmond Dene, Newcastle. https://dl.dropboxusercontent.com/u/243044769/dining.html

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Dining Room

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China Cheese plates and covers Turquoise - Minton White plate with blue leaf border - Wedgwood White and red plate and cover - Staffordshire Crockery 20th Century Wedgwood - Celestial Gold Pattern (not original to house) Vases (on mantle shelf) both late 19th Century.

Chinese with dragons and kylins ( cylindrical) Japanese with pheasants and flowers (spittoon shape) Maling Ware bowl (on What Not) The Maling Factory was established in Newcastle in 1762. As well as manufacturing decorative and table ware the factory also produced commemorative wares - often recording significant local events.

Clock Manufactured by The Ansonian Clock Co. Ltd of New York circa 1895.

Coal Scuttle Known to have been in Dining Room in 1880 (see William George Armstrong portrait on opposite wall).

Curtains Believed to be original to the room. The lace curtains are a recent addition.

Decanters Kuttrolf or Hour Glass Decanters.

Also known as Kluk-kluk decanters because of the sound made when pouring.

Firedogs or andirons Fireback and firedogs of brass and iron dated 1872 were designed by Richard Norman Shaw. (Source: "William Morris and the Arts & Crafts Home" by Pamela Todd page 120) Fireplace Mantle shelf and two window sills of Red Devonshire marble.

The sandstone Inglenook is a broad Gothic arch based on that in the kitchen at Fountains Abbey in N. Yorkshire - sketched by Shaw in 1861. Carved inscription "East or West Hame's Best" - Scottish derivation.

The windows contain glass panels by William Morris (see below) and when first built these looked out on to the courtyard. Original oak settle on the right designed by Shaw and carved by James Forsyth.

The newly made settle on the left inscribed "Cragside 2013" commemorates 150 years of Cragside.

Food warmer (Chafing dish) by Benson and Company https://dl.dropboxusercontent.com/u/243044769/dining.html

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Dining Room

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Hot Water Urn Copper Light fittings This was one of the first rooms to be lit by incandescent bulbs (in 1880) - six bulbs mounted on a circular ceiling pendant plus two wall brackets.

Present fittings supplied by Lea & Sons, Shrewsbury and were probably installed between 1892-1895.

The present bulbs are a special production by Phillips to simulate early carbon filament bulbs. The first bulbs would only have had a single twist in the filament.

Metal Dishes Niello is an alloy of silver, lead, copper and sulphur which is rubbed into an incised design on a metal surface, usually silver. When fired, this alloy becomes black. The article can then be polished back to give a black and silver pattern. Believed to be gifts from the Shah of Persia to Lord Armstrong in 1889.

Plaques Painted by Emile Lessore (1805- 1876) and manufactured by Wedgwood.

1. on fireplace arch - Air - Diana & Mercury 2. to right of bay - Europa and the bull 3. to left of bay - An artist's studio Portraits

William Armstrong (1778-1857) Father of 1st Lord Armstrong Anne Armstrong (nee Potter) Mother of 1st Lord Armstrong William George Armstrong (1810-1900) Depicts 1st Lord Armstrong in Inglenook c.f. fireplace inscription.

Artist - Henry Hetherington Emmerson, 1880 Armorer Donkin (1779-1851) Solicitor friend of 1st Lord Armstrong's father Anne Watson (nee Armstrong) (1802-1828) sister of 1st Lord Armstrong John William Watson (1827-1909) Son of Anne - father of 2nd Lord Armstrong William Henry Fitzpatrick Watson-Armstrong (1863-1941) 2nd Lord Armstrong. Great nephew of 1st Lord Armstrong, Painted as a Captain in Northumberland Hussars Artist - Thomas Bowman Garvie of Rothbury, 1901 See Index of Artists for details

Settles see Inglenook within the fireplace description above Silver on 'What Not' Silver urn (by Hunt and Roskell Ltd) presented to the future 3rd Lord Armstrong, William John Montagu Watson-Armstrong, by his parents on his 21st birthday in 1913.

Stained Glass Four window panels in Inglenook depicting the 'Four Seasons'; designed by William Morris and supplied by Morris and Co. in 1873. https://dl.dropboxusercontent.com/u/243044769/dining.html

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These were one of several similar sets produced at the time.

Tables There appear to have always been two dining tables in the room.

Jupe Capstan Table - uses a patented mechanism devised by Robert Jupe, upholsterer of New Bond Street, London Patent Registered 11 Sept 1835. Stamped Johnston and Jeanes underneath (see separate sheet for information) Wallpaper Similar to the original supplied by Cowtan (the Sanderson of this period) in 1872. This is a special printing by Coles in 1978 of 'Lincoln' design which resembles the original.

What Not An item of furniture derived from the French etagere, popular in the first three quarters of 19th Century. This consisted of a series of shelves or stages designed to display ornaments and small items and was often designed to fit into a corner.

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Picture Guide: Dining Room ‘Mr William Armstrong’ (1778- 1857) Oil, 19th century English school.

The father of the 1st owner of Cragside as Mayor of Newcastle.

Captain William Watson– Armstrong (1863-1941)’, Oil by T.B. Garvie, 1901. The 2nd owner of Cragside in the uniform of the Northumberland Hussars.

‘Air - Diana and Mercury’ Wedgwood plaque by E. Lessore

J. W. Watson of Adderstone Hall’, Oil, 19th century English school.

The nephew of the 1st owner of Cragside and the father of the 2nd owner.

‘Mrs Anne Armstrong’. Anne Potter, the mother of the 1st owner of Cragside.

Anne Armstrong’ Oil by W.J. Miller.

The sister of the 1st owner of Cragside.

Oil, 19th century English school.

Sea – Europa and the bull’ Wedgwood plaque by E. Lessore.

Armorer Donkin’ Oil, 19th century English school.

Close family friend of the 1st owner of Cragside.

‘An artist’s studio’ Wedgwood plaque by E. Lessore.

‘Portrait of S i r Wi l l i a m G .

Armstrong’ Oil by H.H. Emmerson.

The 1st owner of Cragside seated in the inglenook fireplace in this room.

Jupe Table

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Cragside:The Jupe Capstan Table Robert Alexander Jupe was born about 1782 and nothing is known of him until he patented his Improved Expanding Table in 1835 when he was in partnership with John Johnstone, and trading as Johnstone, Jupe & Co. at 67 New Bond Street, London. By 1840 Robert Jupe had left the partnership and established his own firm and his name. But a licence to produce the patented tables was granted to the new firm of Johnstone and Jeanes and their stamp appears on many tables.

Jupe's patent specifications described 'an improved expanding table, so constructed that the sections composing the surface may be caused to diverge from a common centre and that the spaces caused thereby may be filled up by inserting leaves or filling pieces'.

The circular table top is divided into eight segments each running in a groove and attached from a point about halfway along its length to the centre of the table under-frame by a curved iron rod.

As the table top is rotated on its base, the segments are pushed outwards by the curved rods and thus separated so opening a gap between them. A leaf can then be inserted into each gap and, by turning the table top in the opposite direction, the segments and leaves locked together.

There are two sets of leaves, one about half the width of the other, so that three sizes of table are possible. It only forms a perfectly round table when the larger leaves are in place.

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The Drawing Room

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Cragside:The Drawing Room Details Built Completed 1884 Architect Richard Norman Shaw Assistant William Lethaby Restored 1977 - 1979 The last and grandest of Shaw's extensions to the house, this room was completed within eighteen months, in time for the Royal Visit of 1884. It housed Lord Armstrong's most significant paintings, and, being in the Renaissance style, is typical of the opulence of Shaw's later designs. It was a reflection of Lord Armstrong's growing status that such a large entertaining space was required. The room features a striking glazed, curved ceiling with an exterior glazed, pitched roof.

Venetian roof blinds have been added within the tenure of the National Trust, to protect the contents of the room from damage by light. The room is heated from below by warm air rising from hot water pipes below the floor, through grilles which adjoin the skirting of the whole room.

Contents Carpet The carpet is one of two Chenille carpets at Cragside (the other being in the Dining Room) and a rare survivor of its type, although now badly faded and completely threadbare in places. Believed to have been produced by the Templeton factory in Glasgow, at one time the largest carpet manufacturer in the world.

"Chenille" is the French word for caterpillar. The technique was developed in Scotland in the 1830's by Alexander Buchanan, who created fuzzy shawls by weaving tufts of coloured wool into a blanket, which was then cut into strips. The strips were then treated by heated rollers to create the soft fabric called Chenille. James Templeton further refined the process by applying the chenille to a durable backing to produce high quality carpets favoured by the wealthy. Later automation by the company meant that made to measure carpets with complex designs could be produced.

Caskets Two 'Freedom' caskets are on display in this room, containing the scrolls appertaining to the granting of the freedom of the City of Newcastle. One was given to Sir William Armstrong in 1886 and carries an inscription stating that it was constructed from timbers from the Roman Bridge which crossed the Tyne circa AD120, excavated during the construction of The Swing Bridge. However, the wood is medieval in origin.

The second casket was presented to Lord Armstrong's successor, William Henry Fitzpatrick Watson-Armstrong, and has panels https://dl.dropboxusercontent.com/u/243044769/drawing.html

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William Henry Fitzpatrick Watson-Armstrong, and has panels depicting views of Newcastle.

Ceramics Ceramics displayed within the room consist of an eclectic mixture of 18th and 19th Century Japanese and Chinese ware, continental ceramics and some English wares. Some of the pieces of note include: Dresden Jardinières with bird decoration. These are in the Meissen style carrying the AR (Augustus Rex) mark employed

by Helena Wolfsohn in the 19th century, with the intention to dupe the buyer.

Several Japanese Imari-style vases, bowls and plates. (The term "Imari style" is used as it denotes the Japanese port through which pottery from the Arita area of Japan was exported for the European market. It also refers to the typical palette of colours used of red, blue and gold. It was widely copied by English factories, notably Derby.

Japanese Imari-style pottery is difficult to reference to a single potter as it is often not marked).

Two blue & white Mason's Ironstone cylindrical vases.

Two blue & white 'Losol' ware bottle vases (Losol ware was produced by Keeling & Co and manufactured in Burslem, between 1912 and 1926).

Two blue & white guglet (teardrop shaped) vases made by Enoch Wood (1870 - 1900).

Two large Canopic shaped Japanese jars, on ebonised stands circa 1890. (A canopic jar refers to a style of jar that was used by the ancient Egyptians to hold mummified remains of body parts).

Fireplace The fireplace extends over most of the south wall of the room, and is its most striking feature. It was designed by Shaw's chief assistant, William Richard Lethaby (Lethaby became an assistant to the architect R. Norman Shaw, completing his designs, and was influenced by Shaw's circle of the Art Workers' Guild. The Art Workers' Guild was a reaction to historicism and the religious high Victorian Gothic style in favour of a more secular Arts-and-Crafts emphasis).

It is designed in the Early Renaissance Revival style, and features marble columns with a row of Putti (classical representations of cherubic young boys) above which are mythical figures, flowers, foliage, scrolls and a large central cartouche. It is constructed predominantly of Italian marble. The reddish marble is BrecheViolette, whilst the green/black veined marble is Cipollino. The weight of the marble is reputed to be ten tons. It sits on a metal frame which supports its weight, and this frame is embedded into the bedrock. The fireplace was carved at a firm of ecclesiastical carvers, Farmer & Brindley, of Vauxhall, London. As can be seen, it was carved in sections. Each section was then shipped to Amble on the north east coast, from where it was transported by horse and cart to be assembled on site at Cragside. https://dl.dropboxusercontent.com/u/243044769/drawing.html

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Anecdotal evidence suggests Lord Armstrong would only allow heather and peat to be burned on this fire, in order to reduce the staining by smoke of the marble.

Furthermore, a 150 foot flue system was installed underground to ensure that smoke from the fire did not swirl down into the courtyard, but was instead directed to a chimney further up the hillside.

The fireplace largely served only as a focal point, as the room was heated with warm air as previously stated. A bill exists acknowledging receipt by Shaw from Lord Armstrong of 10% of the cost of the fireplace, a sum of £200, making the total cost £2,000. Based on average earnings comparison ratio from 1884, this would equate to almost £900,000 today.

Furniture Settees, chairs, cabinets and other major pieces of furniture are thought to have been designed by Aldam Heaton & Co. (The firm's founder, John Aldam Heaton (1828- 97) was a noted Victorian interior designer and a member of the William Morris Circle. Heaton worked very closely with Richard Norman Shaw on several commissions. Coincidentally, Aldam Heaton & Co created the interiors of the ships Olympic and Titanic of the White Star line, together with interiors for the home of the owner of the line J. Bruce Ismay).

Unfortunately, most of the furniture has suffered from the bleaching effects of sunlight. In particular, the sideboard underneath the painting 'Chevy Chase' which would have at one time been vibrant with the colours of inlaid fruitwoods. The upholstery on the settees and chairs has suffered in a similar fashion and all except one have been reupholstered.

Glass Vase The striking blue glass trumpet-shaped vase is probably local in origin, as both Tyneside and Wearside were centres of glass production in the late 18th and 19th centuries. Blue glass is produced by the addition of copper or cobalt to the molten glass.

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Lighting Two ceiling lights comprising 17 individual metal and gilt pendants, supplied by Lea & Sons Co. of Shrewsbury in 1892.

Music Box The music box on the sideboard was made by Nicole Frères of Geneva, for A. B. Savory & Sons.

Paintings The paintings on display in this room represent only a small portion of Lord Armstrong's original collection, many of which were sold at an auction at Christie's in 1910 by the second owner of Cragside to raise much needed revenue. The paintings include: Winifred Margaret Watson-Armstrong by MARY LEMON WALLER 1902.

The daughter of William Henry Fitzpatrick Watson-Armstrong and his first wife, Winifreda Adye.

Winifreda Adye, Lady Armstrong, by MARY LEMON WALLER 1905. Winifreda Adye was the first wife of William Henry Fitzpatrick Watson-Armstrong, 2nd Lord.

William John Montagu Watson-Armstrong, 3rd Lord, as a boy,

by MARY LEMON WALLER 1902.

"Landscape with a Castle", BRITISH SCHOOL, 19th Century.

"Caernarvon at Sunset"1855 by JAMES FRANCIS DANBY "Highland Cattle in a Mountainous Landscape" by CHARLES JONES One of Lord Armstrong's first purchases, around 1869.

"Mountainous Lake Scene" by EDWARD TRAIN "After Chevy Chase" by HERBERT THOMAS DICKSEE The fallen warrior, dead on the field of battle, is the subject of the folk ballad Chevy Chase, which recounts the medieval border skirmishes between rival families. The Battle of Otterburn, to the north west of Cragside, took place on the 5th August 1388. Though typical of Lord Armstrong's taste (and similar in tone to Emmerson's Faithful unto Death in the Gallery), this painting was not in fact part of Lord Armstrong's collection. Exhibited at the Royal Academy in 1894, it was given to the National Trust in 1977.

"Windsor Castle from Clewer Meadows" by JOSEPH PETITT Another of Lord Armstrong's early purchases, bought for 300 guineas around 1870, when it was attributed to Thomas Sidney Cooper, the celebrated painter of landscapes with cattle.

"San Giorgio Maggiore and the Salute Venice, with Fishing Craft of Chioggia and the Lagune" by EDWARD WILLIAM COOKE Exhibited at the Royal Academy in 1853, this view of Venice was purchased by Lord Armstrong in 1869 for 650 guineas, sold in 1910, and recovered for Cragside in 2002. Cooke knew Lord Armstrong, advising him on the layout of the gardens at Cragside.

"Kilgarren Castle" by JOSEPH MALLORD WILLIAM TURNER, RA Lord Armstrong bought a painting of Kilgarren Castle in 1878 from the collection of Munro of Novar, an important patron of Turner.

Armstrong's Kilgarren Castle was exhibited as a Turner at the https://dl.dropboxusercontent.com/u/243044769/drawing.html

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Guildhall in London in 1899 alongside another version of the composition, which the artist John MacWhirter, after seeing the two paintings together, regarded as the original. When the major paintings in Lord Armstrong's collection were put up for sale at Christie's in 1910, Kilgarren Castle was among them. It did not reach its reserve, however, and was not sold, remaining to this day in the private collection of the Armstrong family at Bamburgh Castle. By a happy coincidence, the National Trust was bequeathed the present version - the very painting MacWhirter believed to be the original by Lady Mildred Fitzgerald, in 1970.

"River with Watermill and Village beyond" by W. DE FLEURY "Portrait of an Unknown Lady" by BRITISH SCHOOL "A Holstein Peasant Woman" by MISS F. WESTPHAL Lord Armstrong bought this painting in 1869.

"Coastal Scene" 1892 by CHARLES NAPIER HEMY. "Only An Orange Girl" by EDWARD PATRY. Despite the prominent monogram in the bottom left-hand corner, this was once thought to be by Sir John Everett Millais, whose "Chill October" and "Jephthah's Daughter" were formerly in Armstrong's collection.

"Landscape near Tangier with Road, Cattle and Figures" by Capt. the Hon. FREDERICK WILLIAM JOHN SHORE "The Water-Seller" by WALTER CHARLES HORSLEY Also known as "A Cairo Street", this painting may have appealed to Lord Armstrong in the light of his visit to Egypt in 1872.

"Miss Stopford" by Unknown English school. A relative of Lady Winifreda.

See Index of Artists for details Photographs Scattered throughout the room on various tables are several family photographs together with others of family friends and visitors to the house. Although their positions may vary as the rooms are reorganised, the significant photographs include: King Faud of Egypt 1903 Mary, Countess of Harewood, and her baby 1923 2nd Lord Armstrong and his second wife Beatrice in court dress.

2nd Lord Armstrong and his third wife Kathleen in Coronation robes, 1937.

Crown Prince Akihito of Japan on his visit to Cragside in 1953.

Gentleman in Highland dress - Charles Mitchell - the first Lord Armstrong's business partner.

Queen Juliana of the Netherlands taken in 1944 in Vancouver, Canada at the time the 3rd Lord Armstrong was in the Diplomatic service there.

Photograph of Winifreda Lady Armstrong, in wooden frame and stand with carved gilt vine leaf decoration.

1st Lord Armstrong photograph on china, with his great-great https://dl.dropboxusercontent.com/u/243044769/drawing.html

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nephew, the future 3rd Lord Armstrong.

Sir Henry Drummond Wolff (1830- 1908), prominent Conservative Party politician in the 1880s, paternal grandfather of Lady Zaida, wife of 3rd Lord.

Piano The piano is made in satinwood by the Bechstein company. Its registration number 55680, corresponds to a manufacturing date of 1900.

Pianola Also in the room is a satinwood push-up pianola manufactured by the Aeolian Company of America in 1901. The pianola is a roll-operated piano player device which sits in front of normal pianos, and plays them with a set of small fingers, which are made from a combination of wood, metal and felt. Pianolas worked by creating suction through the use of foot pedals, which also drive the paper rolls onwards. As the air escapes through each hole or slot in the paper, bellows work the fingers over the piano keys. Pianolas such as this had a limited number of keys, and played 65 notes of the piano, losing about an octave at each end of the compass. Its rolls were perforated at a scale of six notes to the inch and had pins that protruded from each spool end, where they attached to the Pianola mechanism. Spare rolls are located within the cabinet next to the piano.

Sculpture The striking sculpture in the bay window in the southern part of the room, is of the water nymph 'Undine' (also spellt Ondine) by Alexander Munro, mythological figure of European tradition, a water nymph who becomes human when she falls in love with a man but is doomed to die if he is unfaithful to her. This figure is delicately balanced on a revolving plinth.

Wall Coverings The walls are panelled up to dado height. Above this height, as far as the curved plaster ceiling panels, the walls are covered in a red cotton damask, manufactured by Gainsborough Weavers of Sudbury in 1978, which replaced a similar silk damask which had suffered from the effects of dry rot within the walls and water ingress from damage to the roof.

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Picture Guide: Drawing Room.1 ‘Portrait of a Gentleman’ Oil on canvas, artist unknown

‘Winifred Margaret Watson - Armstrong’ Oil by Mary Lemon Waller 1902.

Daughter of Cragside’s 2nd owner and his first wife Lady Winifreda, on Bamburgh beach.

‘Lady Winifreda Armstrong’ Oil by Mary Lemon Waller 1905.

First wife of Cragside’s 2nd owner, in the Drawing Room.

‘River Scene’ Oil by W. J. Muller.

‘William John Montagu Watson - Armstrong’ Oil by Mary Lemon Waller 1902.

Son of Cragside’s 2nd owner and his first wife Lady Winifreda, at Bamburgh Castle.

‘Hilly landscape with river’ Oil 19th century English school.

‘Caernarvon at Sunset’ Oil by James Francis Danby 1855

‘Highland Landscape’ Oil by Charles “Sheepy” Jones 1865

Picture Guide: Drawing Room.2 ‘Mountain Scene’ Oil by Edward Train – possibly of Skye

‘After Chevy Chase’ Oil by Herbert Thomas Dicksee 1894.

The battle of Chevy Chase was the title of a ballad, telling a romanticised version of the Battle of Otterburn in 1388.

‘Windsor Castle from Clewer Meadows’ Oil by Joseph Pettitt 1849.

‘Venice’ Oil by Edward Cooke.

Picture Guide: Drawing Room.3 Kilgarren Castle’ Oil by Joseph Mallord William Turner.

‘Landscape’ Oil by Thomas Danby, 1853.

‘Water-Mill’ Oil by W. De Fleury, 1864.

‘Portrait of Lady in Lace Bonnet’ Oil 19th century English school.

‘A Holstein Peasant Woman’ Oil by Miss F Westphal, 1867.

‘Only an Orange Girl’ Oil by Edward Patry, 1885.

The girl in the painting is said to be Edith Grieves, a pupil at the local school.

‘Coastal Scene’

by Charles Napier Hemy, 1892.

Picture Guide: Drawing Room.4 ‘Miss Stopford’ Oil on canvas, artist unknown.

Miss Stopford was an ancestor of Lady Winifreda Armstrong, first wife of the 2nd owner of Cragside.

‘The Water Seller’, also known as ‘ A Cairo Street’ Oil by Walter Horsley.

Eark souse is a liquorice based sweet drink.

‘An African Landscape; near Tangier’ Oil by F Shore 1888.

The Entrance Hall

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Cragside:The Entrance Hall Details Original house 1863 Architect Unknown Remodelled in first 1870 - 1872 extension Architect Richard Norman Shaw The original main entrance was built in 1863 at a 45 degree angle to the exterior wall and was altered in the first extension by Shaw. The present entrance hall was formed by incorporating the original entrance with what was probably the servants' hall, which was then relocated to its present position to the rear of the house, with easy access from the servants' quarters. This is now the Education Room.

Contents Armstrong Banners On the wall to the left of the fireplace is a banner displaying the coat of arms of the first Lord Armstrong, Baron of Cragside, with the motto 'Fortis in Armis' (Strong in Arms).

On the right is the coat of arms of the second owner, William Henry Fitzpatrick Watson-Armstrong, Baron Armstrong of Bamburgh and Cragside (the second creation of the title). The motto now reads 'Fortis in Armis, Deum Time, Regem Honora' Strong in Arms, Fear God, Honour the King. The 2nd Lord Armstrong's coat of arms is an amalgamation of the 1st Lord Armstrong's and the Watson family coat of arms, and created in 1903.

Firescreen Of peacock feathers.

Painting 1st Lord Armstrong by George Frederick Watts dated 1887.

See Index of Artists for details.

Wall Clock By Dent of London circa 1850.

At the foot of the stairs

Photograph and ink drawing of the original house, mid 1860s.

Two small watercolours of Cragside by A.E. Vernon Harcourt (1880 and 1882).

Barometer by Negretti and Zambra.

Clock, barograph, barometer and thermometer, by T.B. Winter of Newcastle.

A pair of Victorian Alpine souvenir chairs, carved walnut with inlaid panels of birds and animals.

Letter Box in oak with metal plate engraved VR with crown.

Oak letter casket with glazed sides.

Miniature glazed cupboard in oak, said to be for the storage of tobacco.

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The Gallery

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Cragside:The Gallery Details Second extension to the 1872 - 1874 house Altered 1879 - 1884 Architect Richard Norman Shaw When the Gallery was first constructed, bare metal roof supports were visible and to the right side a series of windows overlooked the courtyard.

Initially the Gallery was intended as Lord Armstrong's "museum" to house his Scientific and natural History collection. The Gallery also served partly as Lord Armstrong's laboratory where he conducted experiments. Before the addition of the Drawing Room it led only to the Gilnockie Tower, where Lord Armstrong had an Observatory.

Later modifications to this room, prior to 1881, included raising the roofline, removing most of the courtyard windows, and installing north facing skylights. It then became a picture gallery and occasional drawing room.

Heating is by radiators at both ends of the Gallery.

Contents Banner The Coat of Arms of the Barons Armstrong of Bamburgh and Cragside.

Carpet A copy of the original carpet, supplied in 1979 by Durham Carpets.

China

Large Mason's Ironstone vase at top of stairs - 1920's.

At the far end of the Gallery, the display cabinet contains the other half of the Ridgway dinner service located at the foot of the Gallery stairs.

Opposite the Ridgway service, in the smaller cabinet, is a Japanese tea service of the style known as "Kutani Ware." This was mass-produced particularly in the 1920's and 30's, principally for the Japanese export market.

Furniture

Shell display cabinets of ebonised mahogany, by Gillows of Lancaster, typical of the Victorian period.

Boulle work cabinet. Boulle is named after the French maker Andre-Charles Boulle (1642- 1732) and involves an intricate form of marquetry in which brass is inlaid into a dark background of tortoiseshell or ebony. It was much imitated by 19th Century European furniture makers.

Lighting The Gallery was the first room to have electric lighting and powered by hydro-electricity - initially in the form of arc lighting, which was thought to be unsuitable for domestic use as it was both smelly and noisy. These lights were replaced by the newly-invented Swan light https://dl.dropboxusercontent.com/u/243044769/gallery.html

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noisy. These lights were replaced by the newly-invented Swan light bulbs in 1880. The present light fittings are not the original ones, but probably late 19th Century, supplied by Lea Sons & Co. of Shrewsbury.

Paintings A large collection of paintings, some by Henry Hetherington Emmerson, together with others of family members by various artists, and some to whom artists cannot be attributed.

Sequence Left to Right:"A boy and girl in Highland Dress" - artist unknown The following paintings are by Henry Hetherington Emmerson (1831- 1895):"Orphan of the Storm" 1875 "A Winter Landscape" or "Drovers in the Snow" 1875 "Silky, or Waiting for Orders" 1874 Lord Armstrong's favourite Border Collie lies on a stony hillside. This painting was bought by Lord Armstrong from Emmerson in 1875 for 75 guineas.

"A farm girl with 3 calves and Silky" 1877 "Two Shorthorn Calves" 1874 At this point, between the Emmerson paintings on the facing walls, are two portraits in gilt oval frames of: Margaret Godman Fitzpatrick (Mrs John William Watson), died 1922, the wife of the 1st Lord Armstrong's nephew - artist Edmund Havel (1819- 1894) John William Watson (1827- 1909), nephew of the 1st Lord Armstrong, - artist Edmund Havel (1819- 1894) continuing with the Emmerson paintings: "A young girl with flowers" 1874 This picture has been overpainted at Lord Armstrong's request. The girl was originally carrying a tray of alcoholic drinks. In some lights, the previous outline can be seen. The girl is believed to be Katie, the daughter of the artist.

"Faithful unto Death" 1874 This picture portrays the story of Henry Hall, a shepherd at Blindburn, who perished in December 1874 whilst attempting to cross over the Scottish border into Coquetdale.

Emmerson was so moved by the loss of this well liked young man that he painted this picture. (For further details see explanation on the left of the painting).

"Gilnockie Tower in 1530" 1880 In search of ancestry, Lord Armstrong claimed some kinship with Johnnie Armstrong of Gilnockie, a notorious border reiver, or bandit, whose exploits were immortalised in Sir Walter Scott's ballad of 'Johnnie Armstrang'. Johnnie was executed without trial, along with https://dl.dropboxusercontent.com/u/243044769/gallery.html

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other members of his 'gallant companie', on the orders of James V at Hawick in 1530. Emmerson shows the triumphant reivers returning to Gilnockie Tower in Dumfrieshire, rather than depicting their fate at the gallows. The artist has painted himself into the painting, standing beside the woman with the child, waiting for Johnie's return.

Cragside's own Gilnockie Tower was designed by Richard Norman Shaw in the early 1870s in imitation of the original building.

"Edith Emmerson: Aged Three" 1874 Lord Armstrong bought this painting from Emmerson for 100 guineas in the year it was painted.

Prints:A small print of a portrait by Emmerson of John Hancock in his studio (original in Great North Museum).

A print of a self portrait by Emmerson.

Family portraits:N. B. The picture labels refer to the Armstrongs of the second creation i.e. those who carry the title of Baron of Bamburgh and Cragside. See introduction on Cragside and its owners for clarification.

William John Montagu Watson-Armstrong, 2nd Lord Armstrong of Bamburgh and Cragside (1892-1972). Artist Mary Bernhard 1973 (painted from a photograph after his death).

Kathleen England, Lady Armstrong (1898-1971). Third wife of the first Lord of Cragside and Bamburgh, William Henry Fitzpatrick Watson-Armstrong. Artist George Harcourt 1938.

William Henry Cecil John Robin Watson-Armstrong, 3rd Lord Armstrong of Bamburgh and Cragside (1919- 1987) as a boy.

Artist George Harcourt 1930.

William John Montagu Watson-Armstrong, 2nd Lord Armstrong of Bamburgh and Cragside (1892-1972). Artist J. Bartham.

Winifred Watson-Armstrong (1894-1912). Daughter of the second owner of Cragside. Artist Thomas Bowman Garvie.

William Henry Fitzpatrick Watson-Armstrong, 1st Lord Armstrong of Bamburgh and Cragside (1863-1941). Artist George Harcourt c.1928.

Beatrice Cowx, Lady Armstrong (1862-1934). Artist George Harcourt 1928.

See Index of Artists for details.

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Sculptures

A white marble bust of James Meadows Rendel (1799 - 1856).

Personal friend and business partner of Lord Armstrong) signed and dated 1855 by Edward William Wyon (1811 - 1885).

A marble bust of gentleman of extreme age - unknown man by Edward Hodges Baily RA. A parian ware figure of a young girl with a veiled head.

Parian ware is a type of bisque porcelain (named after the Greek island renowned for its fine white marble). Designed to imitate marble, it was cast in a mould, thus being cheaper and allowing for mass production.

Two marble busts of Lord Armstrong by Alexander Munro.

A marble bust of young woman (below), unknown origin.

A marble bust of St. Cecilia (patron saint of musicians) at the foot of the Owl Suite stairs.

Shells There are over five thousand shells in the collection. Some of these shells are suffering from Byne's Disease - the consequence of acetic acid gas release from the wood of the mahogany cabinet, with a detrimental effect on the shells.

Notable examples amongst the shells include: A. Dye Murex - these shells were used to produce an expensive purple dye.

B. Nautilus shells - related to ammonites. When the outer coating of the shell is removed by polishing, it reveals mother of pearl beneath.

C. St. James Scallop - emblem of the Shell Oil Company.

D. Geography Cone - which exudes a neuro-toxin which is lethal to both fish and sometimes humans.

E. Cowrie (or Money Cowrie) - used in currency in areas as diverse as China, Asia and West Africa, where it was used until the 19th Century.

Stained Glass Supplied by the William Morris Company in 1875. Designs attributed to Phillip Webb and William Morris. Morris executed the flowers and foliage and Webb the birds and insects.

Taxidermy Examples of the work of John Hancock, who, together with his brother Albany, were at the forefront of Victorian natural history scholarship. Lord and Lady Armstrong were keen supporters of Hancock and subscribed a major part of the finance for the Natural History Museum of Newcastle, later renamed the Hancock Museum but now known as the Great North Museum.

Examples:Falcon on a Glove.

Rough-legged Buzzard (from the Arctic and sub-Arctic regions).

Bird of Paradise (Papua New Guinea).

Spangled Cotinga (from Central and Tropical South America). https://dl.dropboxusercontent.com/u/243044769/gallery.html

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The Gallery

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Gyrfalcon (from the Arctic). Used for hunting by royalty only, in the medieval period. It is posed with its prey, a duck, with a stoat attempting to snatch it.

Grey Heron (from Europe and Asia).

Red-footed Falcon - female (from Eastern Europe and North West Asia).

Cock of the Rock (from Guinea). Normally a bright orange, this example has faded over the years.

Wallpaper The wallpaper below the dado rail is designed to simulate Spanish leather. It originated from an unknown manufacturer circa 1874.

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Picture Guide: Gallery.1 ‘Mill stream with boys fishing’ Oil, artist unknown, 1857.

‘Girl in Highland Dress’ Oil, artist unknown.

‘Girl with Calves’ Oil, by H.H. Emmerson, 1877

‘Orphan of the Storm’

by H. H. Emmerson, 1875.

‘Waiting for orders; a portrait of Silky’ Oil, by H. H .Emmerson, 1874.

Silky was Lord Armstrong's favourite dog, and he appears in several paintings in Cragside.

‘Drovers in the snow’

by H.H. Emmerson, 1875.

Painted against the Simonside Hills.

Picture Guide: Gallery.2 ‘Shorthorn Calves’

by H.H. Emmerson, 1874.

Lord Armstrong owned a prize herd of shorthorn cattle.

‘John William Watson’ Pastel by E Havell, 1871.

The father of the 2nd owner of Cragside.

Kathleen, Lady Armstrong’ Oil by G Harcourt, 1937.

3rd wife of the 2nd owner of Cragside in her 1937 coronation robes.

‘William John Montagu WatsonArmstrong’ Pastel

by J Bartham, 1940.

The 3rd owner of Cragside.

‘Lady Beatrice’

by G. Harcourt.

Second wife of the 2nd owner of Cragside.

‘William John Montagu WatsonArmstrong’

by Mary Bernhard 1973.

3rd owner of Cragside painted one year after his death.

‘William Henry Cecil John Robin Watson Armstrong’

by G Harcourt 1930.

The 4th owner of Cragside aged 11 years.

‘Winny’

by T.B. Garvie, 1912.

Daughter of the 2nd owner of Cragside and his first wife Winifreda.

‘First Lord Armstrong of the 2nd creation’

by G. Harcourt.

The 2nd owner of Cragside.

Picture Guide: Gallery.3 ‘Mrs John William Watson’ Pastel by E. Havell, 1871.

‘A Young Girl with Flowers’ Oil by H.H. Emmerson, 1876.

Mother of the 2nd owner of Cragside.

‘Faithful Unto Death’ Pastel by H.H. Emmerson, 1874.

‘Gilnockie Tower 1530’

by H.H. Emmerson, 1880.

Depicts Johnnie Armstrong, a notorious border reiver, returning home with stolen cattle following a raid. Emmerson has placed himself in this picture, next to the woman holding a child. Cragside’s own Gilnockie Tower was based on the tower in this painting.

‘Edith Emmerson aged three’

by H.H. Emmerson, 1874.

Youngest daughter of the artist.

‘Boy in Highland Dress’ Artist unknown.

Picture Guide: Gallery Stairs Bamburgh Castle’

by H. H. Emmerson 1889.

The castle was bought by Lord Armstrong in 1894 after his wife’s death with the intention of turning it into a convalescent home in her memory.

‘The Little Milk Maid’

by Charles Edward Frere, 1857.

‘Portrait of a Man Holding a Flute’

by H.H. Emmerson, 1877.

The Garden Alcove

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Cragside:The Garden Alcove Details Original house 1863 Architect Unknown Remodelled 1870-1872 by Richard Norman Shaw During the first extension to the property in 1870-1872 Richard Norman Shaw changed this into a vestibule area which gave access to the Rock Garden and allowed additional natural light into the corridor.

Majolica glazed tiles were added to the walls and these were continued into the upper floor. Supplied by Frederick Garrard.

Contents Furniture Dates from around 1840-1860 and could possibly originate from the Armstrongs' house at Jesmond Dene, Newcastle.

Pictures A set of 5 Portraits of Saints by Ralph Hedley (1901) in reeded ebonised frames:St. Cuthbert (634-687) Rev. Bernard Gilpin (1517-1583) St. Hilda (circa 614-680) St. Paulinus (died 644) St. Aidan (died 651) Other pictures:Portrait of a 2nd Lieutenant in the Northumberland Fusiliers signed 'Roy'.

Print of a painting by Lowes Cato Dickinson (1819- 1908) of: The House of Peers during the Home Rule Debate 1893 - 'The Lord Chancellor to put the question'. William George Armstrong (1st Lord Armstrong) is portrayed on the 3rd row down, 7th from left. Dickinson's composite pictures were created using many individual studio portraits which were then photographed, assembled into the larger canvas and produced as lithographic prints.

Print of a watercolour 'The Absent Minded Beggar' 1899 by R. Caton Woodville 1856-1927.

Engraving 'The Woman Taken in Adultery' from the original by Rubens. Drawn by T Unwin and engraved by A. Carbon.

Engraving of Coronation Ceremony of King Edward VII by E. A. Abbey 1903-4.

See Index of Artists for details https://dl.dropboxusercontent.com/u/243044769/gdn_alcove.html

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The Ground Floor Corridor

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Cragside: The Ground Floor Corridor Details Original house 1863 Architect Unknown Remodelled 1870-72 by Richard Norman Shaw in the first extension In Shaw’s alterations of 1870-72 the walls were tiled to dado height with Spanish cuenca style tiles by Frederick Garrard and made at the Millwall Pottery. Shaw used Garrard tiles in several of his projects.

Cuenca (Spanish for basin or bowl) refers to the production technique developed in Spain in the 15th Century: tiles were made using moulds with deep depressions which were then filled with coloured glass.

Contents Pictures Left Wall

Pictures Right Wall

Garden Alcove

Pope Benedict XV ‘To Lady Armstrong’ 1921 John Adye, 1819- 1900; Governor of Gibraltar Admiral The Hon. Sir Robert Stopford, uncle of Winifreda Adye's mother Mr Ames Balfour (17th Oct 1890) The Rev Arthur T. Newfast 1st Lord Armstrong at house entrance John Adye – perhaps?

Drawing by Richard Norman Shaw of his proposals for Cragside alterations 1st Lord Armstrong in Peer’s robes (original at Bamburgh Castle) ‘George’ Captain John Ralph Carr-Ellison* (1832-1907, father of Ralph, below) Walter Selby ** William Watson-Armstrong? A young great nephew Chinese Gentleman, William George Armstrong (1st Lord Armstrong) and Andrew Noble The Rev Edward A Wilkinson *** Scroll of Freedom of Gunmakers' Society, presented to Sir William Armstrong 23rd June 1861 Col Ralph Henry Carr-Ellison CMG* (1863-1923, son of John, above) Unknown – great nephew?

Andrew Noble (1831-1915) Siamese (?) gentleman (12 Aug 1897) See Index of Artists for details

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The Ground Floor Corridor

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See Index of Artists for details Regulator Clock by Dent of London No 1087 circa 1850 Glazed mahogany case showing mercury compensation pendulum, weight and thermometer. * John Ralph Carr-Ellison of Hedgeley Hall, Powburn, was High Sheriff of Northumberland. Originally named Carr, he added the name Ellison when he inherited Hebburn Hall, owned by the Ellison family.

His son, Ralph presented land at Hebburn Hall to the community; the house has been converted to private use. ** Walter Selby, of Biddlestone Hall sold it to the Forestry Commission in 1914 and in 1957 the Hall was demolished. The Roman Catholic chapel however remains. *** Rev E A Wilkinson was Vicar of Whitworth, Co. Durham. His daughter married Alan Hutchison who lived at The Farm, Rothbury.

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The Inner Hall

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Cragside:The Inner Hall Details First extension to house 1870-72 Architect Richard Norman Shaw This space, part of Shaw's additions of 1870-2, acts as a lobby to the Dining Room and Library and connects the previously existing main corridor. It is partly panelled and partly finished in dressed masonry.

On the table is an engraving, from 'The Graphic' magazine April 1881, showing Cragside lit by electricity.

Contents Ceramics Japanese cloisonnĂŠ vases and dishes.

Furniture Set of red plush chairs, probably brought from the earlier Armstrong house at Jesmond, together with the benches and a table in a mild Renaissance style.

Paintings

George Cruddas Director of Armstrong works Elswick William Henry Watson Husband of Anne Armstrong (sister of 1st Lord Armstrong) and grandfather of 2nd Lord Armstrong William Armstrong Father of 1st Lord Armstrong William George Armstrong 1st Baron Armstrong of Cragside Unknown William Watson Armstrong, oil by T B Garvie 1900. 1st Lord Armstrong's great-nephew and successor James Meadows Rendel Civil Engineer and great friend and colleague of 1st Lord Armstrong See Index of Artists for details From the Inner Hall a basement staircase leads to the Turkish Baths.

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Picture Guide: Inner Hall ‘George Cruddas’ Oil, 19th century British School.

George Cruddas was a director of the Armstrong Works at Elswick.

‘William Armstrong’ Oil, 19th century British School.

The 1st Lord Armstrong’s father.

Unknown Oil, 19th century British School.

‘William Henry Watson’ Oil, 19th century British School.

William Watson was grandfather of the second Lord Armstrong.

‘Sir William George Armstrong, 1st Baron Armstrong of Cragside’ Oil, 19th century British School.

Signed with monogram J.B. William WatsonArmstrong Oil on canvas by T.B. Garvie, 1900.

2nd owner of Cragside

‘James Meadows Rendel’ Oil, 19th century British School.

Civil Engineer and great friend and colleague of 1st Lord Armstrong.

The Japanese Room

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Cragside:The Japanese Room Details Original House 1863 Architect Unknown This was Sir William Armstrong's 'Business Room' and one of the three principal ground floor rooms in the original house. A small, plain room with a homely mid-Victorian appearance. The only heating was from the open fire.

The room in its current representation was dedicated to Yorisada Tokugawa (1892- 1954), a close friend of the family and an uncle of the Empress of Japan, who styled himself 'Friend of Humanity'. It contains many gifts and mementoes, including the fine set of woodblock prints which were given to the family by Tokugawa just after the First World War.

Contents Bookcase, glazed Containing a collection of Japanese objects and mementoes.

Carpets Feraghan in the Herati design (Western Persia) on a fawn ground.

Ceramics On circular table: Large Japanese Dish in blue and white, decorated with scene "The Making of Porcelain" late 19th Century Chair A library chair with caned seat and back and posts on both arms to position a book. Maker Gillows of Lancaster, probably late 1870s Desk Oak, probably Edwardian, with multiple pigeon-holes, drawers and pull out slides.

On the desk are photographs of Yorisada Tokugawa and his wife Tame dated 1919 and 1929, papier mache stationery boxes and a pretty concertina album of 37 Japanese prints printed and published 1898 (text translated by a Japanese visitor to Cragside).

Fireplace Gothic style fireplace is probably not original but inserted in the late 19th Century.

Light Fitting Supplied by Lea, Sons & Co, Shewsbury circa 1895.

Photographs On circular table of Yorisada Tokugawa and his wife Tame, others on the desk.

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The Japanese Room

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Photograph album With an ivory relief on the front cover, silk lined pages and watercolour illustrations, containing photographs of the Armstrong family dating from the early 1900s.

Prints A collection of 19th and 20th Century woodblock prints by, or in the style of, influential 19th century Japanese artists including: Ando Hiroshige (1797- 1858), Katsushika Hokusai (1760- 1849), Utagawa Kunisada (1786- 1864), Utagawa Kuniyoshi (1798- 1861).

Kitagawa Utamaro (1753- 1806), Tsukioka Yoshitoshi (1839- 1892), See Index of Artists for details.

Screen Decorated with flowers painted in the Japanese style.

Table Circular topped centre table, Howard & Son, London.

Wallpaper Cowtan 1866, returned to its original colour in 1978.

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The Jigger Room

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Cragside:The Jigger Room Details Installed 1880s The Jigger Room is downstairs from the Kitchen, and adjacent to the Scullery.

Contents Barker's or Scotch Mill On the left as the room is entered is the Barker's or Scotch Mill* which drives the spit in front of the range in the Kitchen. This is actually a type of small turbine called a Whitelaw turbine* and is similar to a lawn sprinkler. Water comes from the Basin Tank and jets emerging from the ends of a horizontal S-shaped tube cause it to spin rapidly. A series of shafts and gears pass up into the Kitchen and then under the floor to the spit. * invented by Dr Barker (1730s) and improved by a Scot, James Whitelaw (1833); it was first used in Scottish mills.

Jigger A 'jigger' is the term given to a machine that has a part that moves to and fro and the term can be applied to many pieces of engineering.

Here it was used to drive the lift, installed in the 1880s, and consisted of a water-powered hydraulic ram. The water was supplied from the Basin Tank on the hillside 50m above the house and hence at a pressure of 5 bar (70psi). It entered the cylinder of the jigger via a system of valves and the ram was pushed out pulling on a chain, the other end of which was attached to the roof of the lift. The distance that the ram could move was limited and the addition of pulleys at each end allowed the travel to be multiplied so that the lift could rise through three floors of the house. Three pulleys at each end multiplied the travel by six.

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The Jigger Room

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A rope running over a system of pulleys (remnants can still be seen fixed to the framework around the jigger) was attached to a system of valves. These controlled the movement of the lift. The rope was attached to the handle which can be seen in the jigger room and also passed through the lift cage so that the lift could be controlled by passengers within. In order to descend, all that was necessary was to allow the water to drain from the cylinder and the lift would descend under its own weight. A working model of the lift (built by the estate engineer and volunteers) shows how the jigger would have moved the lift, although the model is powered by electricity and not by water.

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The Kitchen Corridor

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Cragside:The Kitchen Corridor Details First major extension to 1870 - 1872 house Architect Richard Norman Shaw The first part of the corridor, lined with white glazed bricks, was part of the original house. It was extended to link the original property to the newly built Dining Room. Iron girders span the roof to support the glass sky-light. Windows from the Inner Hall enable light to be shared between the inner hall and this corridor.

Contents Flooring Marmoleum supplied by Avena Carpets in 2008 Pictures Left Hand side: Photograph of ‘Opening of Crozier Drive by Mrs Crozier’ 1950.

Framed documents showing details of List of Electrical Circuits.

One of these refers to Mrs Armstrong’s bedroom.

Dale and Gorham rewired the house in the years after 1895.

Right Hand side: Two black and white photographs of Andrew Crozier (18711957) David Dippie Dixon (1842-1929) Local amateur historian – who lived at Coquetdale House, High Street, Rothbury.

Mr & Mrs Richard Avery Gamekeeper and wife.

Andrew Richardson (1861- ?)

Rothbury man who is said to have helped with the building and development of the estate. Picture circa 1917.

National Registration Act 1915 * Documents for Mr & Mrs Crozier.

Tall Boy Oak Item donated in 2000.

Window Hatch Designed for collecting food etc for delivery to the dining room. *A register of all persons aged between 15 and 65 who were not members of the Armed Forces All urban & rural districts were the local registration authorities. The Act enabled military authorities to discriminate between those who could be called up or who should be retained in civil employment.

The National Registration Act was discontinued after World War I. Reinstated in 1939 to provide identity and ration documents and to control call up into the Armed Services for World War II. https://dl.dropboxusercontent.com/u/243044769/kitchencdr.html

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The Kitchen Corridor

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In 1951 the National Registration Act was discontinued.

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The Kitchen

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Cragside:The Kitchen Details Original house 1863; remodelled after 1885 The original kitchen was less than half its present area, as it was designed to serve the much smaller house. Sometime after 1885 it was extended to the east to take in the old scullery and part of the inner courtyard. The elevated ceiling with high windows allowed the heat and steam to disperse more easily.

Contents Copper Pans Stored on the shelves, some are engraved with the Armstrong 'A'.

Dumb Waiter Hand operated via pulleys. Carried dirty dishes and pans down to the scullery to be washed, then returned to the kitchen. Installed to make the job of maids easier, as the pans were very heavy.

Fire Grenades These are sealed blue glass containers used as household fire extinguishers. They contained a chemical producing carbon dioxide when broken. The grenade was thrown into the fire and the carbon dioxide released to put out the fire.

Jelly Moulds Puddings, ice cream and jellies in the 19th century were symbols of sophistication and status as such desserts required long and painstaking preparation. Jellies were made in a variety of shapes using fancy moulds such as those in the cabinet. Clear gelatin was first obtained from boiling meat or fish - its quality was its transparency.

Jellies were both sweet and savoury; herbs, vegetables and meat and particularly fish were popular, as suggested by the animals depicted on some of the moulds. Copper moulds would be used if the food was to be served in them. They were more difficult to clean than tin ones and because of chemical reaction with the food, they were sometimes tinned, like pans.

Kitchen Range The huge kitchen range was fitted by H. Walker and Son, and the roasting fire and ovens by Dinning and Cooke, both by Percy iron works in Newcastle. The spit is powered by a Scotch or Barkers Mill power converter. This works on the principle of an inverted rotating lawn spray, which converts hydraulic energy into a rotary action.

Knife Cleaner Before the invention of stainless steel (around 1913) knives rusted quickly and had to be cleaned and sharpened regularly. This knife cleaning machine was first patented by George Kent of London in 1852. See separate sheet.

Mouse Trap An 'Improved Irish' choker mousetrap.

Pestle and Mortar The mortar is made from part of a tree trunk with a marble bowl inside. The large pestle was used to break up ice, sugar etc. or for pounding bones into bone meal. https://dl.dropboxusercontent.com/u/243044769/kitchen.html

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The Kitchen

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Photograph House staff in 1886.

Premier Washerup Originally in the Scullery, this was moved into the Kitchen in the 1930s. See separate sheet.

Spit Powered by a Barker's or Scotch mill (or more correctly, a Whitelaw turbine). Usually such spits were driven by a fan which was turned by the hot gases in the flue, but Armstrong adapted the same mechanism so that it could be water powered. The 'mill' can be seen in the Jigger Room off the Scullery and some of its connecting gears through the small windows set in the kitchen floor. The water came from the Basin Tank situated on the hillside 50 metres above the house. It is still water powered today except that the water is re-circulated by an electric pump.

Sugar Loaf In Victorian times, sugar was bought in the form of tall cones or loaves. Special pincers, sugar nips, were used to break off small pieces for grinding down.

Water Filter A stoneware ceramic container with a lead free glaze used to purify water which was passed through a charcoal filter. See separate sheet.

Warming Cupboard Wooden cupboard in front of the fire. It is open at the back, the shelves within could be loaded through the door away from the heat of the range so that plates could be warmed or food kept hot.

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Cragside:Kitchen Pictures!

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The Library

Cragside:The Library Details First extension to the house 1870 - 1872 Architect Richard Norman Shaw The Library is part of Shaw's 1870 - 72 first major extension to the house. Together with the Dining Room at Cragside, it is considered to be amongst the finest remaining and unaltered Victorian domestic interiors in England. This Room was also the main living room/drawing room of the house, until the new larger Drawing Room of 1884 was built.

In 1880 this room was the first in the world to be lit using Joseph Swan's newly invented incandescent filament light bulbs with electricity derived from hydropower.

The light oak woodwork appears less heavy than in the Dining Room and is panelled to dado height and features Shaw's sunflower roundels (pies). As in the Dining Room, the pegged joints and exposed hinges anticipate the Arts and Crafts movement of the later 19th century. The oak ceiling has square centre panels of walnut and elaborately carved bosses, each boss apparently unique.

Like the Dining Room and their associated lobby, the Library is heated by warm air from the Plunge Bath boiler room. Here this emanates from grilles which can be seen under the bookcases on either side of the entrance door and also around the skirting of the bay window.

Many of the furnishings on display today can be seen in H Bedford Lemere's photograph of 1891.

Contents Carpet Large Turkey carpet and smaller pieces in the hearth and bay window have been in the room since at least 1891and may be original.

Ceiling Frieze Reflects the Japanese influence of the Aesthetic movement. Consists of small compartments between the ceiling joists and depicts branches and leaves on a gilded background. The painter is unknown.

Ceramics

Three Imari 18th century Japanese bowl covers with a floral design and trellis reserves in red, blue and gilt.

A pair of Imari 18th century Japanese bowl covers with striated decoration in gros blue, gilt and red.

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The Library

Japanese 19th century blue underglaze decorated circular bowl with scalloped edge, tree and bamboo design.

Pair of Chinese squat baluster-shaped porcelain vases and covers.

Pair of Japanese Satsuma oviform vases with elephant head handles and ceramic ring looped through one handle (other handle missing), bird and flower decoration.

Japanese, 1870-1900, plate decorated with blue and white floral design with scalloped edge and simple ribbon design on the reverse.

Blue and white Chinese vases (19th Century) displayed on fireplace Japanese 19th Century baluster shaped vase and cover in porcelain with a Kylin as the cover finial.

Cigar Box Glass and ormolu supported by four bronze figures each representing the chief producers of tobacco which were Havana, Maryland, Virginia and Brazil. Date uncertain.

Clock Black marble lantern clock by Reid and Sons of Newcastle Curtains Original red velvet.

Enamel Ware

Two Chinese cloisonné enamel dishes decorated with blue and white imperial 5-claw dragons with pearls in the centre, on blue background, Kangxi late 17th Century, probably made for the Emperor.

Two Chinese cloisonné enamel vases decorated with flowers and birds on a blue background.

Two Chinese cloisonné enamel bottle-shaped vases with flowers on a black background.

(See also Light Fittings).

Fireplace Designed by Richard Norman Shaw and made by James Forsyth.

Egyptian onyx, framed in Emperor's red marble. Tile cheeks are blue majolica from a design of 1852 - 1853 by Alfred Stevens. The onyx is thought to be a souvenir of Armstrong's visit to Egypt in 1872 - his only known visit abroad.

Furniture

https://dl.dropboxusercontent.com/u/243044769/library.html

Set of chairs, Queen Anne style, made in ebonised mahogany with cane seats and leather back patches stamped with pomegranates and by Gillows of Lancaster and thought to be to Shaw's design.

Cane library chair with book rest by Holland and Sons from a pattern first made in the 1880s.

Square leather topped writing table (in the bay window) by Gillows of Lancaster.

Four black corner chairs with gold painted flower pieces on the backs and gilt leather seats. Shaw's design.

Sturdy mahogany portfolio table circa1840 Low oak bookcases with elaborate moulding run along the main sides of the room.

Black and gold lacquer decorated lamp-table on column and tripod legs, red silk shade with deep fringe shade.

Ebonised oval table, marble mosaic inset top, on four turned legs joined by understretchers.

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The Library

Light Fittings Four cloisonnĂŠ enamel vases, originally oil lamps converted in 1880 and fitted with Swan's incandescent light bulbs which were concealed by clouded glass globes. Each vase stood over a small bowl of mercury with which contact was made with an insulated interior wire. The current passed up the wire to the bulb and back through the copper vase itself. The light could be turned off by lifting the vase away from the mercury.

In 1891 came the addition of a central pendant with eight bare light bulbs and a smaller one in the bay window. The ornate metal lamp shades were installed sometime between 1891 and 1895 and were made by Lea and Company of Shrewsbury.

See also letter to 'The Engineer' magazine, January 1881 Metal Dish Niello is an alloy of silver, lead, copper and sulphur which is rubbed into an incised design on a metal surface, usually silver. When fired, this alloy becomes black. The article can then be polished back to give a black and silver pattern. Believed to have been a gift from the Shah of Persia to Lord Armstrong in 1889.

Ornaments Cat and elephant carved wood - Indian.

Paintings Clockwise from door:Beatrice Elizabeth Cowx second wife of 2nd Lord, by Graham Glen circa 1916 First Lord Armstrong (in later years)

by Mary Lemon Waller 1898 Margaret Ramshaw, Lady Armstrong wife of first Lord Armstrong

by John Calcott Horsley 1868 John William Watson son of 1st Lord Armstrong's sister Anne.

Artist unknown William Henry Fitzpatrick Watson-Armstrong 2nd Lord Armstrong (great nephew) by Graham Glen circa 1916 Coastal scene with fishing boats near Flamborough

by Thomas Miles Richardson Senior, 1840 A Yacht towed by a Paddle-Boat Bernard Benedict Hemy The Madonna della Sedia (19th Century copy after Raphael circa 1513) Roughton Brig, near Dumfries, by Thomas Miles Richardson Senior 1832 Moorland Landscape with rocky outcrop by John Turnbull Dixon 1891 La Fornarina (19th Century copy after Sebastiano del Piombo) St Mary's Island, near Whitley 1891 byJohn Turnbull Dixon (before the building of the lighthouse 1898) Italian girl with Doves Rafael Sorbi 1866 Portrait of a Lady, English school, in the manner of Richard Cosway 1742- 1821 Coastal scene by Moonlight by John Wilson Carmichael 1840 Rouen street scene with clock and fountain British School Elswick works on the Tyne https://dl.dropboxusercontent.com/u/243044769/library.html

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Thomas Marte Madawaska Hemy 1886 Dutch cottage interior Abraham Van Stry Upper Coquetdale near Shilmoor by John Turnbull Dixon, undated See Index of Artists for details.

Stained Glass The stained glass in the bay window was supplied by William Morris and Company in 1873. There are ten panels. The central six depict the story of St George and the dragon, originally devised by Dante Gabriel Rossetti in 1862.

A further four panels portray :Dante and Chaucer by Edward Burne-Jones (panel 1) Spenser and Milton by Ford Madox Brown (panel 2) Homer and Aeschylus by Edward Burne-Jones (panel 9) Virgil and Horace by Edward Burne-Jones (panel 10) Click here for more information about the stained glass Wallpaper Original to the room and now repainted in its original snuff colour.

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Picture Guide: Library.1 ‘Portrait of Beatrice Elizabeth Cowx’ (1862 1934), Oil by G Glenn c1916.

Lady Beatrice was the second wife of the 2nd owner of Cragside.

‘Portrait of Lord Armstrong of Cragside’, Oil by Mary Lemon Waller, 1898.

‘Portrait of Margaret Ramshaw, Lady Armstrong’, Oil by John Calcott Horsley, 1868.

The wife of Lord Armstrong, the 1st owner of Cragside.

‘Portrait of J. W. Watson of Adderstone Hall’, Oil, 19th century English school.

‘Portrait of the Lord Armstrong’, Oil by G Glenn.

‘The Madonna della Sedia’ Watercolour. 19th Century copy after Raphael

William WatsonArmstrong was the 2nd owner of Cragside.

The 1st owner of Cragside aged 88.

The nephew of the 1st owner of Cragside and the father of the 2nd owner.

‘Off the coast near Flamborough’ Oil by Thomas Miles Richardson, 1840.

‘Yacht being pulled by a PaddleBoat’ Watercolour by B.B. Hemy.

Picture Guide: Library.2 ‘Roughton Brig’ Oil by Thomas Miles Richardson Senior, early 19th century.

‘La Fornarine’ Oil in the style of Sebastiano Del Piombo, 19th Century copy.

St Mary’s Isle, Whitley’ Oil by John Turnbull Dixon, 1891.

View of St Mary’s Island, Whitley Bay before the lighthouse was built in 1898.

‘Italian Girl with Doves’ Oil by Rafael Sorbi, 1866.

‘Portrait of a Lady’ Oil, 18th century English school.

‘A Moorland Scene’ Oil by John Turnbull Dixon, 1891.

‘Moonlight Coastal Scene’ Oil by J Wilson Carmichael, 1840.

Picture Guide: Library.3 ‘Rouen, France’ Oil, 19th century English school.

‘Cottage interior’ Oil by Abraham Van Stry.

‘The river Tyne & Elswick works’ Watercolour by Thomas Hemy, 1886.

Lord Armstrong’s factory and shipyard in Newcastle.

‘On the Coquet near Shilmoor’ Oil by John Turnbull Dixon, 1891.

The river Coquet runs through Rothbury, near Cragside.

The Main Staircase

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Cragside:The Main Staircase Details Original house 1863 Architect Unknown Remodelled 1872 - 1874

Richard Norman Shaw added another flight of stairs over the main entrance. The lower lights in the large window had to be hidden to accommodate the new arrangement. The exterior of the house retains the original appearance.

In 1876 the staircase was completely rebuilt and the tiles were added to the upper corridor.

The five beasts posing "en sejant" (sitting on their haunches) on the newel posts originally carried banners, one of which can still be seen at the top of the stairs. The wooden banner has a large letter 'A' on one side and the Armstrong coat of arms on the other. Four of the wooden beasts were converted around 1880 to carry tubes with light attachments. In 1895 new lights were installed.

Now replaced with new lamps – 2013

Contents Antlers Two pairs on upper wall.

Bronze Statue 'A Daughter of Eve’. The Slave Girl in the niche on the left of the staircase. Sculpted by John Bell (1811-1895). Originally owned by the 4th Marquis of Hertford. Possibly purchased by Lord Armstrong following Lord Hertford’s death in 1870. The statue was inspired by the revulsion against slave trading following the publication of “Uncle Tom’s Cabin” by Harriet Beecher Stowe in 1852.

Horns Pair of long twisted eland horns – African antelope.

Pair of curved ringed water buffalo horns mounted on a carved wooden animal head with a ring through the nose.

Marble Figure Nude female figure – sculptor unknown.

Pictures

Two water colour views of Cragside by Emily Anne VernonHarcourt.

A sketch and a photograph of the old house.

Portraits (some of which relate to the ancestry of the Armstrong and Watson families): Rt Hon John Wilson Croker (1780-1857) Jane Potter

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The Main Staircase

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Jane Potter Margaret Godman – Mrs Watson William Watson (1757-1814) of Adderstone Dorothy Watson (nee Yelloly) wife of William Watson above, (married 3 January 1782) An unknown Gentleman See Index of Artists for details

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The Morning Room

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Cragside:The Morning Room Details First extension to the house 1870 - 1872 Architect Richard Norman Shaw The Morning Room was one of the principal bedrooms of Shaw's 1870 - 1872 extension. It originally had a connecting dressing room, the beam in the ceiling indicating the position of its wall plus the north facing window. By 1895 the dressing room had been incorporated into the bedroom to make a larger sitting room (see 1891 photograph). It was later known as 'Mother's Room' presumably referring to Winifreda, the 2nd Lady Armstrong.

The room had been modernised by the time the National Trust acquired the house (see 1976 photo in the Morning Room); the ceiling had been painted white and the frieze and wall lights removed, the carpet dyed and 1930s wallpaper added. The room was refurbished in the 1980s using a photograph by H. Bedford Lemere dated 1891 as a guide.

Contents Bonnet A poke bonnet, designed to keep the sun from ladies' faces.

Bronzes Fortuna, balanced on the Wheel of Fortune, and Mercury (or Hermes) winged messenger of the gods, floating on the breath of Zephyr, the west wind.

Butterflies, There is no record that these were collected by the first Lord and moths and insects Lady Armstrong. They may well have been a gift from John and Albany Hancock, given the generous financial support that the Hancock brothers received towards the establishment of the Newcastle Natural History Museum from the Armstrongs, but there is no firm evidence. The 'eye' pattern on the wings of the large Owl butterfly in the right hand case is an example of mimicry used to deter predators.

In the left hand case, the insect with its orange wings extended is a locust, and the beetle with a horn on its head is a rhinoceros beetle.

Cabinets

China Cabinet In the style of Sheraton, painted in the style of Angelica Kauffman, 1741-1807.

Wall Cabinet The lower half would have been intended to stand over another item of furniture.

Carpet A replacement by Mackays of Durham with a pattern based on that shown in the 1891 photograph, using colours to co-ordinate with the curtains, wallpaper and ceiling. https://dl.dropboxusercontent.com/u/243044769/morning.html

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The Morning Room

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Ceiling Re-drawn and painted on the basis of details visible in the 1891 photo.

Chairs With curved slatted backs. Thought to have been designed by Aldam Heaton & Co. The firm's founder, John Aldam Heaton (1828- 1897) was a noted Victorian designer, a member of the William Morris circle and worked with Richard Norman Shaw on several commissions.

China

Blue & white urns on floor stands - blue and white vases in Greek amphora style with two handles painted in gold, with a view of Tintern Abbey on one and Loch Leven on the other, shield and crossed staves mark. A gift to Cragside in 1978.

Meissen Vases A pair of fruit and flower encrusted vases, early to mid 19th century.

'The Hunt Vase' of about 1880 depicts a hunting scene with the hounds and deer and surmounted by Diana holding her bow.

Putti wall brackets - made to order by the National Trust in 1994, from 1895 photograph.

Tea service was thought for a long time to be Rockingham, but has now been identified as G F Bowers of Tunstall (fl.1842-68), but painted in the style of Rockingham.

Curtains Original, silk, as seen in the 1891 photograph.

Door The door is different from the other bedroom doors on the red landing, being solid oak, so the original must have been replaced at some time. The Latin carved motto - Non qui rogat sed qui rogatur admitto. This translates as 'I admit not who asks, but who is asked.' In other words, by invitation only. The motto is accompanied by two pairs of initials, R A and C M, the meaning of which is not known.

Fireplace It does not look exactly like the one in the 1891 photo, however; the wooden surround appears the same but the fire opening is smaller.

Frieze An exact copy of the original as seen in the 1891 photograph, made using the pattern books of the original manufacturer.

Harmonium Although the presence of pipes give this the appearance of a small organ, the pipes are purely decorative. The instrument is in fact a harmonium, the air current which produces the notes being created by the player operating the pedals at the foot of the instrument. On the left hand side of the decorative structure are painted the 2nd Lord's initials together with coats of arms and the date 1904.

Low furniture Donated in memory of the donor's parents with the provision that the set is kept together. The chairs are low because in Victorian days it was considered rude for a lady to show her ankles, so when sitting on one of these chairs the skirt would reach the floor, thereby maintaining her modesty.

Paintings By General Sir John Miller Ayde (1819- 1900): https://dl.dropboxusercontent.com/u/243044769/morning.html

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The Morning Room

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Darjeeling.

Scene near Rothbury with Cragside in distance.

Cragside September 1891.

Tomb of Mogul King near Dehli.

Gibraltar.

Other paintings:A Cottage Scene. Watercolour by Albert William Ayling (fl.

1852 - 1892, died 1905).

A Wooded Landscape. Watercolour by V. Boutin.

See Index of Artists for details Parasol Used to keep the sun from ladies' faces.

Photographs On book-case:Family photographs mainly of Winny and William (children of the 2nd Lord), one with an unidentified boy.

Two photographs of an unidentified lady dressed as milkmaid On mantle shelf:Unknown lady in a lacy gown.

Tables

D ended table in bay window.

Drop-leaf table.

Wall Lights An original was found in the stables, and copies were made.

Wallpaper A design based on the colours and patterns of scraps of wallpaper found behind electric switches and the heating pipes' cover. Printed using Cowtan's original wooden blocks.

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The Owl Suite

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Cragside:The Owl Suite Details Second extension to the 1872 - 1877 house Architect Richard Norman Shaw Restored 1980 - 1981 Now presented as the bedroom suite occupied by the Prince and Princess of Wales on their visit of 19th - 22nd August 1884. The previous use of these rooms is speculative, apparently being originally described as guest rooms and also as a billiard room and a smoking room. In the remodelling in the preparation for the Royal visit, both rooms were supplied with hot and cold water. The smaller of the two principal rooms has a partially sunken bath in the further most recess of the room. The third small bedroom would probably have been a dressing room (at least for the duration of this visit). All of these rooms had electric light, and the two large bedrooms were centrally heated and had built-in wardrobes. All three rooms have servant call bells. A WC is located on the landing between these rooms.

Contents Beds The principal feature of both of the larger rooms is the beds made of American black walnut. These were designed by Shaw himself, and probably executed by W. H. Lascelles. The reason behind the owl finials on the beds is unknown. The bed in the middle room was returned to Cragside in 2006, having been discovered on a farm in Leicestershire. It bore a plaque confirming that 'Princess Alexandra occupied this bed when visiting Cragside' (plaque removed and now in storage).

China The only significant visible pieces comprise a Coalport Toilet set on the washstand in the principal bedroom.

Furniture The walls of the two principal rooms have been designed to accommodate built-in wardrobes in wood matching that of the beds.

Hair Crimper The unusual black object on the washstand of the main bedroom is a hair crimper, which would have enabled its user to execute the precise hair waving popular in the 1920's and 30's. https://dl.dropboxusercontent.com/u/243044769/owl.html

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Paintings/Drawings Those of significance which may be clearly seen in the main Owl Suite are:_ Drawing of bedstead designed by the architect Richard Norman Shaw, and drawn by him Drawing of the main bedroom of the Owl Suite - artist unknown Black and white watercolour of Cragside - by General Sir John Adye (1819- 1900) William John Montagu Watson-Armstrong (1892- 1972) Watercolour of Cragside (by fireplace) inscribed "Cragside - a sketch by His Excellency General Gallwey, Governor of Bermuda" - artist Lt. General Sir Thomas Lionel Gallwey (18211906) Pastel portrait of Winifreda, Lady Armstrong - artist unknown See Index of Artists for details Photographs On the wall to the left as you enter the main room of the Owl Suite are photographs of: Alexandra, Princess of Wales.

Alexandra, Princess of Wales together with her children Prince George, Prince Albert Victor, and Princesses Maud, Louise and Victoria.

The Royal Album In the display case at the foot of the bed is an album of watercolours

by Henry Hetherington Emmerson, commemorating the Royal Visit of 1884. It was commissioned by the people of Rothbury (a list of donors who funded the album may be found inside the front cover) and presented to Lord and Lady Armstrong.

Scales (View via mirror positioned to show the sunken bath). An angled mirror is positioned in front of a reverse dial so that weight may be read by the person standing on the scales.

Wallpaper The principal bedroom was originally decorated in the William Morris 'Venetian' Design - circa 1876 - and was then redecorated for the royal visit with wallpaper from an unknown manufacturer. The striking wallpaper that is visible today is a reprint by Sanderson & Co in 1980 from pattern blocks of 1880.

Windows A section of window overlooking the courtyard in the principal bedroom has been obscured in order to accommodate the large halftester bed against the facing wall.

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Picture Guide: Watercolour Gallery.1 Left wall from entry point

No Image

‘Mountainous Landscape’

By John Johnson

‘Salmon Pool, Moray Firth’

By Henry Moore R.A., 1876

‘Wooded Landscape’

By W. Bennett

‘Scottish Highlands’

By H.B. Willis, 1864

‘Cragside 1892’

By General Sir John Adye.

‘Evening’

By J.F. Tayler R.W.S.

‘Cragside, Nellie’s Moss’

By Elizabeth Surtees

No Image

‘Cragside, Nellie’s Moss’

By Elizabeth Surtees

Facing wall from entry point ‘Wooded Landscape’ Artist unknown

‘Italian Lake Scene’

By T.C.L Rowbotham Jnr.

‘Gibraltar’

By General Sir John Adye

‘Mountain Scene’

By T.C.L. Rowbotham Jnr.

Picture Guide: Watercolour Gallery.2 Facing wall from entry point continued ‘Ancient Greece’

By William Clarkson Stanfield R.A.

Wetterhorn Grindwald’

By Thomas Leeson Rowbotham, 1869

Ventimiglia’

By Thomas Leeson Rowbotham, 1869.

Moorish Male Figure’

By W. Muller

‘Two Young Girls’

By Frederick Goodall R.A.

Male and Female Figures’

By Coke Smith

Picture Guide: Watercolour Gallery.3 Right wall from entry point

No Image

‘Scene between Lanark and Larig’

By Aaron Penley R.A.

‘Mountainous Landscape - a sketch’

By David Cox (the elder)

‘Twilight’

By Harry Johnson

‘Amble from Warkworth Links

By John Surtees, 1879

‘From Library Window’

By H.H. Emmerson

‘Gathering Seaweed at Sunset’

By John Mogford, 1869

‘Chinese Boatmen’

By G. Chinnery

No Image

‘Classical Idyll’

By Joseph Murray Ince, 1827

Picture Guide: Watercolour Gallery.4 Back wall from entry point ‘Red Leaf’

By E.W. Cooke R.A., 1836

‘Snowdon at Sunset’

By Aaron Edwin Penley, 1869

‘Margate’

By J.B. Payne, 1841

‘Coastal Scene’

By Thomas Myles Richardson

‘On the Largo Garda’

By Harry John Johnson

‘On the Seine’

By W.M. Callow R.W.S

Red Bedroom and Dressing Room

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Cragside:The Red Bedroom and Dressing Room Details First extension to the house 1870 - 1872 Architect Richard Norman Shaw One of the main bedrooms of Shaw’s 1870-72 additions to the house.

It has not been restored, still displaying wallpaper of the 1920/30 period. The smaller room was a dressing room and has its own door to the landing (note that it is a smaller door than the internal door) so that servants could enter the dressing room without going through the bedroom.

Heating An iron grille can be seen at the landing entrance door of the dressing room; this brought warm air from the basement heating chambers. It is likely that a similar grille was at the entrance to the Red Bedroom which is now covered by carpet.

Contents Red Bedroom Bed Warmer This is shaped so that it can slide between the sheets. Two servants would each take a handle and standing on opposite sides of the bed pull the vessel back and forth so warming the whole sleeping area.

China Wemyss ware - Cabbage Rose pattern. (Wemyss is pronounced ‘weems’.)

First produced in 1892 by immigrant Czech designer Karel Nekola and local pottery owner Robert Heron at the Fife Pottery on the east coast of Fife near Kirkcaldy, it took its name from the Wemyss family of nearby Wemyss Castle who were early and enthusiastic patrons.

Nekola’s ‘Cabbage Rose’ pattern is thought by many to be the most exquisite. Although the original factory closed in 1932, Wemyss ware remained popular and the style was successfully revived by Griselda Hill in 1985. It is still made in Fife, near St Andrews.

Clock English repeater mantle clock. Pulling the string on the side makes the clock repeat the last hour chimed.

Drapes The pelmet and coverlet of the bed are original.

Furniture Mahogany bed, wardrobe, dressing table and wash-stand, with inlaid decoration in the Adam style circa 1880. The bed is a full-sized bed, the mattress measuring 7' x 4'6"; it appears shorter because of its height and the curved foot board which hide the corners.

A screen and a tallboy.

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Red Bedroom and Dressing Room

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Photographs Ladies standing on the Iron Bridge. (Note that it had mesh sides even then).

Lt. Col. G. Scott-Jackson, CBE, DSO, MD acting commander in 1915 of the 7th Northumberland Fusiliers, Capt. Will's (3rd Lord's) Regiment.

Possibly the 2nd Lord as a young man in Northumberland Hussars uniform.

Lady Baden-Powell Pictures various Landseer prints including: "Pen, Brush and Chisel: The Studio of Sir Francis Chantry "- Sir Edwin Landseer. The bust in the picture is of Sir Walter Scott and the dog is a Dandie Dinmont (a type of terrier owned by and shown in pictures with William George Armstrong (the 1st Lord). The engraving is by Thomas Landseer, eldest brother of Sir Edwin who was noted for his engravings. The picture is signed in pencil by both brothers.

See Index of Artists for details Leather Box with initials BEC, Beatrice Elizabeth Cowx (second wife of 2nd Lord).

Contents Dressing Room It was not unusual for there to be a bed in a dressing room.

There could be several reasons : • the husband leaving early or coming in late without disturbing his wife • to lay out clothes ready for dressing • used as a day bed so that the main bed was not disturbed if already made up • a guest’s servant or child might use it Chair Possibly covered in crewel work, a decorative form of surface embroidery using wool.

Foot Bath The dish under the table to the left of the door is a foot-bath, not a planter.

Medicine Box Containing homeopathic remedies in glass bottles Nooth's Apparatus Invented in 1775 by a physician, John Mervyn Nooth (1737 – 1828) to produce carbonated water to mimic natural spa water for medicinal purposes. Spa water was thought to be effective against scurvy, kidney stones, arthritis and ‘lack of vigour’. This was the first apparatus for domestic use and for medicinal purposes. It was popular until the late 19th century. There are very few examples of the apparatus remaining.

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Pictures Watercolours of English Cathedrals: (Wells, Salisbury, Durham and St. Nicholas’ Newcastle), Dean St. Newcastle, Black Gate Newcastle, Middle Street Newcastle (with St Nicholas’s), Bottle Bank Gateshead.

Weighing Seat By Young & Son (fl.1811-1901).

A person sitting on the padded seat can be weighed using the small brass weights placed on the scale pan. The connection of the seat to the pan (following the ‘Laws of Levers’) permit the smaller weights to balance that of the body - the weight needed on the pan is only one 56th of the body weight. The brass weight inscribed 4 stones actually weighs I pound (0.454kg).

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The Red Landing

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Cragside:The Red Landing Details First extension to the house 1870 - 1872 Architect Richard Norman Shaw Part of Norman Shaw's first extension, this area was completed in 1872. Now much altered from the original plan, not least to allow access to the lift. Originally the Uniform Cupboard in an extended form was the Dressing Room for the Bamboo Bedroom with one wall forming one side of a corridor leading to the entrance to the Morning Room. Without the installation of the light well above the Red Landing, this corridor would have been very dark. The wall of the original Dressing Room can be felt under the present carpet. The window of the Uniform Cupboard was originally on an outside wall hence its stone mullions.

Air vents with shutters can be seen at the entrance to the Morning Room and in the wall above the bookcase. An iron grille can be seen at the landing entrance door of the dressing room; it is likely that a similar grille was at the entrance to the Red Bedroom but this is now covered by carpet. The deep wall contains the ducts from the heating chambers which brought warm air to these vents.

The staircase leads to an upper floor of rooms, originally bedrooms, this floor appears also to have been used for the children of the 2nd Lord, Will and Winny, as it became known as 'The Nursery Flat'.

Converted to a flat by the 3rd Lord in 1946 for his own use on his return from Canada.

Contents Carpet The landing carpet was replaced in 1994 by a direct copy of the original, part of which can be seen on the stairs. It has been laid in reverse to the stair carpet.

Display Cabinet(Mahogany) Contents Miniatures above display cabinet shelves:William George Armstrong (1st Lord Armstrong) William Henry Fitzpatrick Watson-Armstrong (2nd Lord Armstrong) and Lady Kathleen (his third wife) Margaret, 1st Lady Armstrong 2nd Lord Armstrong Lady Winifreda (first wife of 2nd Lord Armstrong) Margaret Godman Fitzpatrick (Mrs John William Watson, mother of 2nd Lord) Lady Kathleen (third wife of the 2nd Lord Armstrong) Top Shelf: https://dl.dropboxusercontent.com/u/243044769/redland.html

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Top Shelf: Two small jugs with copper lustre Miniatures of 2nd Lord and his first wife, Winifreda Hispano-Moresque pottery chalice Ceramic elephant 19th Century group of a cow and a calf Middle Shelf: Domed pink and yellow decorated lid Royal Worcester butterfly cup and saucer Miniature cup with red rim and handle Wooden model of Japanese Punch & Judy Japanese Noh mask (Noh is Japanese theatre) Pair of Japanese porcelain bowls with bamboo backing Qianlong late18th Century Chinese famille rose pattern tree ornament with a cockerel and urn (Emperor Quianlong,173696) Circular Satsuma ware dish with lid Pair of Japanese lmari vases Pair of silver Saki cups in a presentation box (presented by Crown Prince Naruhito during his private visit to Cragside in 1991). They display the Royal Chrysanthemum emblem.

Bottom Shelf: Hispano - Moresque pottery dish,17th or 18th Century Four-handled vase Three Wedgwood purple lustre bowls decorated with butterflies Minton plate decorated with a strawberry plant and butterfly Early 20th Century art nouveau oval dish Alabaster cherub doing a handstand Child crying Marble model of a she-wolf Furniture Satinwood bookcase and centre table, by Howard & Sons. The chairs are 'Art Nouveau' with rush seating. (see Watercolour Gallery for information about satinwood.)

Photographs

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John Watson (1st Lord Armstrong's nephew) - similar to that in Dining Room/Library William John Montagu Watson-Armstrong (Will) - 3rd Lord copy of the portrait in Drawing Room

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Pictures

H H Emmerson 'Foreign Invasion' This picture is a pastel - another version in oils hangs in the Laing Art Gallery, Newcastle. The pastel may have been a preparatory version.

Travelling musicians from abroad often visited the north-east coast during summer in the 19th century. Travelling child musicians in this picture are entertaining a village audience at Cullercoats.

Signed Landseer engraving - title unknown.

Figures among ruins in the Middle East (artist uncertain).

Photo of portrait of a young girl by Mary Lemon Waller signed by artist?

Mary Lemon Waller painted many portraits of young girls in this style.

See Index of Artists for details

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The Scullery and Larders

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Cragside:The Scullery and Larders Details Built 1885 This scullery was added in the basement in about 1885 to replace the original scullery which had been incorporated into the enlarged kitchen. The heavy cast iron pots and pans would have been washed in the large sinks on the right hand wall and stored on the nearby racks. They would have been transported to and from the kitchen upstairs in the dumb waiter.

Contents Cool Box This zinc lined box has a compartment for ice alongside a food compartment and a tray to collect the melt water.

Dumb Waiter See kitchen.

Gas Appliances Nothing is known of the use of gas in the house, nor of the dates of these appliances. There is record of a gas powered generator installed in 1895 to help cope with demand for electricity. A Gas Works, largely financed by Sir William George Armstrong, had been established in Rothbury by 1881.

Larders Meat and game were stored in the larders off the scullery. The present larder was originally part of a much longer complex of underground chambers, most of which were later filled in to support the road running through the courtyard. Being below ground level and standing on and against the bedrock, the temperature was always low and fairly even.

Sinks Large relatively shallow sinks were required in which to wash the very large utensils. One sink has been moved to the kitchen at a later date.

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The Study

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Cragside:The Study Details Original house 1863 Architect Unknown Remodelled 1870 - 1872 in the first extension by Richard Norman Shaw This room was originally Lady Armstrong's sitting room and later became her husband's study, having been remodelled during the first extension of the house. It has a moulded plaster ceiling, an attractive partly gilt decorated cornice (original to 1866) and a low chimney piece of marbled slate. The wooden shutters at the windows are thought to be original. The door to the left of the fireplace is now a cupboard but would originally have given access to the entrance hall.

There was also a window to the right of the fireplace but this was filled in, most probably during the first extension of the house. The only heating came from the open fire.

Contents Armchair 1880s upholstered, one arm opens to reveal a mahogany shelf.

Books With nearly 700, the room has more books than the Library.

Bookcase 1830s Carpet Fitted Axminster made up of strips in the Herati design (a design from Western Persia), a copy of the original installed in 2008.

Chair Early 18th century style.

Clock A Bulle patent electric clock from around 1936.

Desk Mahogany, Georgian style but probably made circa 1870. On the desk is a knife made of brass and red/grey marble, with the sunflower emblem of the Arts and Crafts movement on the blade and 'A' for Armstrong on the reverse. Part of a set of dessert knives and forks designed by Richard Norman Shaw for the Armstrongs' home in Jesmond - his first commission from them.

Desk Chair Has a brass plaque to commemorate the first Lord Armstrong, to whom it belonged.

Electric Fire A 'Swan Brand' electric fire with projecting cylindrical element set in circular concave reflector, surrounds of hammered metal. Dates from 1920.

Light Fittings Lea, Son & Co of Shrewsbury c.1892 - 1895.

Metamorphic Library Chair Mahogany, Regency style, converts into library steps.

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The Study

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Microscope on Desk Gilt metal stereoscopic microscope marked 'Smith, Beck & Beck, London' made between 1857 - 1865. It cost ÂŁ7 in 1857, approximately ÂŁ500 today (2013). Described in Richard Beck's 1865 work 'A Treatise on the construction, proper use and capabilities of Smith, Beck & Beck achromatic microscopes'.

Microscope Slide Cabinet Containing trays of prepared microscope slides.

Mementoes On the three tier table is a framed lock of hair which is believed to have belonged to Winifred Margaret Armstrong (Winny), daughter of the 2nd Lord Armstrong who died in 1912 aged 17.

Portrait

W G Armstrong aged 21 Dated 1831 by James Ramsay (1786 - 1854) On loan from Alvis Vickers plc.

Other Pictures

'Bamburgh Castle' watercolour initialled FR (Frances Rainbow?) (above cupboard door) undated.

'Cragside' watercolour

by General Sir John Adye 1819- 1900 (father-in-law of 2nd Lord) to left of cupboard door. No other details known.

'Cragside' watercolour

by General Sir John Adye 1819- 1900 (father-in-law of 2nd Lord) to left of Ramsay portrait over fireplace. No other details known See Index of Artists for details

Photographs A variety of photographs of family members, including: Oval miniature of the 1st Lady Armstrong dedicated 'to Bella 5th May 1882' (on wall to right of window).

Winfreda, Lady Armstrong, (first wife of 2nd Lord) carrying a small child on her back (on 3 tier table).

2nd Lord Armstrong, William Henry Fitzpatrick WatsonArmstrong as a boy in court dress.

Sofa Table Plain regency style.

Wallpaper Cowtan 1866, returned to its original colour in 1978.

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The Drawing Room

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Cragside:The Drawing Room Details Built Completed 1884 Architect Richard Norman Shaw Assistant William Lethaby Restored 1977 - 1979 The last and grandest of Shaw's extensions to the house, this room was completed within eighteen months, in time for the Royal Visit of 1884. It housed Lord Armstrong's most significant paintings, and, being in the Renaissance style, is typical of the opulence of Shaw's later designs. It was a reflection of Lord Armstrong's growing status that such a large entertaining space was required. The room features a striking glazed, curved ceiling with an exterior glazed, pitched roof.

Venetian roof blinds have been added within the tenure of the National Trust, to protect the contents of the room from damage by light. The room is heated from below by warm air rising from hot water pipes below the floor, through grilles which adjoin the skirting of the whole room.

Contents Carpet The carpet is one of two Chenille carpets at Cragside (the other being in the Dining Room) and a rare survivor of its type, although now badly faded and completely threadbare in places. Believed to have been produced by the Templeton factory in Glasgow, at one time the largest carpet manufacturer in the world.

"Chenille" is the French word for caterpillar. The technique was developed in Scotland in the 1830's by Alexander Buchanan, who created fuzzy shawls by weaving tufts of coloured wool into a blanket, which was then cut into strips. The strips were then treated by heated rollers to create the soft fabric called Chenille. James Templeton further refined the process by applying the chenille to a durable backing to produce high quality carpets favoured by the wealthy. Later automation by the company meant that made to measure carpets with complex designs could be produced.

Caskets Two 'Freedom' caskets are on display in this room, containing the scrolls appertaining to the granting of the freedom of the City of Newcastle. One was given to Sir William Armstrong in 1886 and carries an inscription stating that it was constructed from timbers from the Roman Bridge which crossed the Tyne circa AD120, excavated during the construction of The Swing Bridge. However, the wood is medieval in origin.

The second casket was presented to Lord Armstrong's successor, William Henry Fitzpatrick Watson-Armstrong, and has panels https://dl.dropboxusercontent.com/u/243044769/drawing.html

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The Drawing Room

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William Henry Fitzpatrick Watson-Armstrong, and has panels depicting views of Newcastle.

Ceramics Ceramics displayed within the room consist of an eclectic mixture of 18th and 19th Century Japanese and Chinese ware, continental ceramics and some English wares. Some of the pieces of note include: Dresden Jardinières with bird decoration. These are in the Meissen style carrying the AR (Augustus Rex) mark employed

by Helena Wolfsohn in the 19th century, with the intention to dupe the buyer.

Several Japanese Imari-style vases, bowls and plates. (The term "Imari style" is used as it denotes the Japanese port through which pottery from the Arita area of Japan was exported for the European market. It also refers to the typical palette of colours used of red, blue and gold. It was widely copied by English factories, notably Derby.

Japanese Imari-style pottery is difficult to reference to a single potter as it is often not marked).

Two blue & white Mason's Ironstone cylindrical vases.

Two blue & white 'Losol' ware bottle vases (Losol ware was produced by Keeling & Co and manufactured in Burslem, between 1912 and 1926).

Two blue & white guglet (teardrop shaped) vases made by Enoch Wood (1870 - 1900).

Two large Canopic shaped Japanese jars, on ebonised stands circa 1890. (A canopic jar refers to a style of jar that was used by the ancient Egyptians to hold mummified remains of body parts).

Fireplace The fireplace extends over most of the south wall of the room, and is its most striking feature. It was designed by Shaw's chief assistant, William Richard Lethaby (Lethaby became an assistant to the architect R. Norman Shaw, completing his designs, and was influenced by Shaw's circle of the Art Workers' Guild. The Art Workers' Guild was a reaction to historicism and the religious high Victorian Gothic style in favour of a more secular Arts-and-Crafts emphasis).

It is designed in the Early Renaissance Revival style, and features marble columns with a row of Putti (classical representations of cherubic young boys) above which are mythical figures, flowers, foliage, scrolls and a large central cartouche. It is constructed predominantly of Italian marble. The reddish marble is BrecheViolette, whilst the green/black veined marble is Cipollino. The weight of the marble is reputed to be ten tons. It sits on a metal frame which supports its weight, and this frame is embedded into the bedrock. The fireplace was carved at a firm of ecclesiastical carvers, Farmer & Brindley, of Vauxhall, London. As can be seen, it was carved in sections. Each section was then shipped to Amble on the north east coast, from where it was transported by horse and cart to be assembled on site at Cragside. https://dl.dropboxusercontent.com/u/243044769/drawing.html

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The Drawing Room

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Anecdotal evidence suggests Lord Armstrong would only allow heather and peat to be burned on this fire, in order to reduce the staining by smoke of the marble.

Furthermore, a 150 foot flue system was installed underground to ensure that smoke from the fire did not swirl down into the courtyard, but was instead directed to a chimney further up the hillside.

The fireplace largely served only as a focal point, as the room was heated with warm air as previously stated. A bill exists acknowledging receipt by Shaw from Lord Armstrong of 10% of the cost of the fireplace, a sum of £200, making the total cost £2,000. Based on average earnings comparison ratio from 1884, this would equate to almost £900,000 today.

Furniture Settees, chairs, cabinets and other major pieces of furniture are thought to have been designed by Aldam Heaton & Co. (The firm's founder, John Aldam Heaton (1828- 97) was a noted Victorian interior designer and a member of the William Morris Circle. Heaton worked very closely with Richard Norman Shaw on several commissions. Coincidentally, Aldam Heaton & Co created the interiors of the ships Olympic and Titanic of the White Star line, together with interiors for the home of the owner of the line J. Bruce Ismay).

Unfortunately, most of the furniture has suffered from the bleaching effects of sunlight. In particular, the sideboard underneath the painting 'Chevy Chase' which would have at one time been vibrant with the colours of inlaid fruitwoods. The upholstery on the settees and chairs has suffered in a similar fashion and all except one have been reupholstered.

Glass Vase The striking blue glass trumpet-shaped vase is probably local in origin, as both Tyneside and Wearside were centres of glass production in the late 18th and 19th centuries. Blue glass is produced by the addition of copper or cobalt to the molten glass.

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The Drawing Room

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Lighting Two ceiling lights comprising 17 individual metal and gilt pendants, supplied by Lea & Sons Co. of Shrewsbury in 1892.

Music Box The music box on the sideboard was made by Nicole Frères of Geneva, for A. B. Savory & Sons.

Paintings The paintings on display in this room represent only a small portion of Lord Armstrong's original collection, many of which were sold at an auction at Christie's in 1910 by the second owner of Cragside to raise much needed revenue. The paintings include: Winifred Margaret Watson-Armstrong by MARY LEMON WALLER 1902.

The daughter of William Henry Fitzpatrick Watson-Armstrong and his first wife, Winifreda Adye.

Winifreda Adye, Lady Armstrong, by MARY LEMON WALLER 1905. Winifreda Adye was the first wife of William Henry Fitzpatrick Watson-Armstrong, 2nd Lord.

William John Montagu Watson-Armstrong, 3rd Lord, as a boy,

by MARY LEMON WALLER 1902.

"Landscape with a Castle", BRITISH SCHOOL, 19th Century.

"Caernarvon at Sunset"1855 by JAMES FRANCIS DANBY "Highland Cattle in a Mountainous Landscape" by CHARLES JONES One of Lord Armstrong's first purchases, around 1869.

"Mountainous Lake Scene" by EDWARD TRAIN "After Chevy Chase" by HERBERT THOMAS DICKSEE The fallen warrior, dead on the field of battle, is the subject of the folk ballad Chevy Chase, which recounts the medieval border skirmishes between rival families. The Battle of Otterburn, to the north west of Cragside, took place on the 5th August 1388. Though typical of Lord Armstrong's taste (and similar in tone to Emmerson's Faithful unto Death in the Gallery), this painting was not in fact part of Lord Armstrong's collection. Exhibited at the Royal Academy in 1894, it was given to the National Trust in 1977.

"Windsor Castle from Clewer Meadows" by JOSEPH PETITT Another of Lord Armstrong's early purchases, bought for 300 guineas around 1870, when it was attributed to Thomas Sidney Cooper, the celebrated painter of landscapes with cattle.

"San Giorgio Maggiore and the Salute Venice, with Fishing Craft of Chioggia and the Lagune" by EDWARD WILLIAM COOKE Exhibited at the Royal Academy in 1853, this view of Venice was purchased by Lord Armstrong in 1869 for 650 guineas, sold in 1910, and recovered for Cragside in 2002. Cooke knew Lord Armstrong, advising him on the layout of the gardens at Cragside.

"Kilgarren Castle" by JOSEPH MALLORD WILLIAM TURNER, RA Lord Armstrong bought a painting of Kilgarren Castle in 1878 from the collection of Munro of Novar, an important patron of Turner.

Armstrong's Kilgarren Castle was exhibited as a Turner at the https://dl.dropboxusercontent.com/u/243044769/drawing.html

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Guildhall in London in 1899 alongside another version of the composition, which the artist John MacWhirter, after seeing the two paintings together, regarded as the original. When the major paintings in Lord Armstrong's collection were put up for sale at Christie's in 1910, Kilgarren Castle was among them. It did not reach its reserve, however, and was not sold, remaining to this day in the private collection of the Armstrong family at Bamburgh Castle. By a happy coincidence, the National Trust was bequeathed the present version - the very painting MacWhirter believed to be the original by Lady Mildred Fitzgerald, in 1970.

"River with Watermill and Village beyond" by W. DE FLEURY "Portrait of an Unknown Lady" by BRITISH SCHOOL "A Holstein Peasant Woman" by MISS F. WESTPHAL Lord Armstrong bought this painting in 1869.

"Coastal Scene" 1892 by CHARLES NAPIER HEMY. "Only An Orange Girl" by EDWARD PATRY. Despite the prominent monogram in the bottom left-hand corner, this was once thought to be by Sir John Everett Millais, whose "Chill October" and "Jephthah's Daughter" were formerly in Armstrong's collection.

"Landscape near Tangier with Road, Cattle and Figures" by Capt. the Hon. FREDERICK WILLIAM JOHN SHORE "The Water-Seller" by WALTER CHARLES HORSLEY Also known as "A Cairo Street", this painting may have appealed to Lord Armstrong in the light of his visit to Egypt in 1872.

"Miss Stopford" by Unknown English school. A relative of Lady Winifreda.

See Index of Artists for details Photographs Scattered throughout the room on various tables are several family photographs together with others of family friends and visitors to the house. Although their positions may vary as the rooms are reorganised, the significant photographs include: King Faud of Egypt 1903 Mary, Countess of Harewood, and her baby 1923 2nd Lord Armstrong and his second wife Beatrice in court dress.

2nd Lord Armstrong and his third wife Kathleen in Coronation robes, 1937.

Crown Prince Akihito of Japan on his visit to Cragside in 1953.

Gentleman in Highland dress - Charles Mitchell - the first Lord Armstrong's business partner.

Queen Juliana of the Netherlands taken in 1944 in Vancouver, Canada at the time the 3rd Lord Armstrong was in the Diplomatic service there.

Photograph of Winifreda Lady Armstrong, in wooden frame and stand with carved gilt vine leaf decoration.

1st Lord Armstrong photograph on china, with his great-great https://dl.dropboxusercontent.com/u/243044769/drawing.html

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nephew, the future 3rd Lord Armstrong.

Sir Henry Drummond Wolff (1830- 1908), prominent Conservative Party politician in the 1880s, paternal grandfather of Lady Zaida, wife of 3rd Lord.

Piano The piano is made in satinwood by the Bechstein company. Its registration number 55680, corresponds to a manufacturing date of 1900.

Pianola Also in the room is a satinwood push-up pianola manufactured by the Aeolian Company of America in 1901. The pianola is a roll-operated piano player device which sits in front of normal pianos, and plays them with a set of small fingers, which are made from a combination of wood, metal and felt. Pianolas worked by creating suction through the use of foot pedals, which also drive the paper rolls onwards. As the air escapes through each hole or slot in the paper, bellows work the fingers over the piano keys. Pianolas such as this had a limited number of keys, and played 65 notes of the piano, losing about an octave at each end of the compass. Its rolls were perforated at a scale of six notes to the inch and had pins that protruded from each spool end, where they attached to the Pianola mechanism. Spare rolls are located within the cabinet next to the piano.

Sculpture The striking sculpture in the bay window in the southern part of the room, is of the water nymph 'Undine' (also spellt Ondine) by Alexander Munro, mythological figure of European tradition, a water nymph who becomes human when she falls in love with a man but is doomed to die if he is unfaithful to her. This figure is delicately balanced on a revolving plinth.

Wall Coverings The walls are panelled up to dado height. Above this height, as far as the curved plaster ceiling panels, the walls are covered in a red cotton damask, manufactured by Gainsborough Weavers of Sudbury in 1978, which replaced a similar silk damask which had suffered from the effects of dry rot within the walls and water ingress from damage to the roof.

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CRAGSIDE OPENING TIMES 2014 GARDENS and WOODLAND Opening Mon times 15 Feb – 23 Feb 11 – 4**

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• Open Bank Holidays 11 – 5 • Last admission 1 hour before closing • Entry is controlled for safety reasons and at busy times you may have to queue ADMISSION CHARGES 2014 House, Gardens and Woodland ​2014/5

​Gardens and Woodland 2014/5

Adult: ​£15.85* / £14.35 Child (age 5 – 17): ​£7.90* ​ / 7.15 £5.20* / £4.65 Family: ​£39.45* / £35.75 ​Family: (2 adults + 3 children) Party rate (15 or more) Child party rate

​£12.00 ​£6.00

​Adult: ​ ​

​£10.20* / 9.25 ​Child (age 5 – 17): ​ ​£24.65/ £ 22.35

(​ 2 adults + 3 children) ​Party rate (15 or more) ​Child party rate

​ ​£7.80 ​£3.95

House upgrade (i.e. bought gardens and woodland ticket at admission point): Adult £5.10; Child £ 2.50 Family £13.40

Adult £5.10; Child £ 2.50 Family £13.40 ADMISSION CHARGES WINTER OPENING 2014/5 Gardens, Woodland, Tea Rooms and Gift Shop ​ (House closed) ​ Adult: ​£5.65* / £5.10 ​ Child (age 5 – 17): ​£2.35* ​/ £2.10 ​ Family: ​ ​£12.00 / £10.70 ​ (2 adults + 3 children) ​ Party rate (15 or more) ​£4.00

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• Includes a voluntary 10% donation which will be put towards the restoration and upkeep of this place. If you are a UK taxpayer, please complete a Gift Aid declaration which will allow the National Trust to claim an extra 25% from the Government on your total payment. You will be asked to pay the Gift Aid admission unless you request to pay the Standard Admission.

The Turkish Baths

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Cragside:The Turkish Baths Details First major extension to 1870 house Architect Richard Norman Shaw Norman Shaw's plans for this suite of rooms are dated 5th May 1870 and, although alterations were made during the construction, they are recorded in the diaries of Armstrong's friend Thomas Sopwith as having been first used on 4th November of that year.

A framed plan of the original design can be seen on the wall.

The suite, located beneath the Library, consists of a Hot-air Room, Plunge Bath, Cooling Room, Shower, Bathroom, Toilets and Dressing Room.

The rooms are heated through the walls from the adjacent boiler room. A short flight of stairs leads to the under-floor chamber with heating furnace.

Contents Cartoons Two Cartoons by Louis Raemaeker 1869-1956, a Dutch painter and cartoonist noted for his anti-German stance during the First World War. "The Promise" refers to Mr Asquith's speech of 9th November 1914.

"Botha to Britain" refers to the Treaty of Vereeninging 31st May 1902, which marked the end of the Boer War. See Index of Artists for details Furnishings It is thought some of the furnishings in the rooms may have been brought back from, or influenced by, Lord Armstrong's trip to Egypt in1872.

Tiles There is no record of the makers of the Plunge bath blue and white tiles.

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The Uniform Cupboard

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Cragside:The Uniform Cupboard Details First extension to the house 1870 - 1872 Architect Richard Norman Shaw Shaw’s original plan shows this room as the Dressing Room for the Bamboo Bedroom, when it had an internal door to the Bedroom as well as one opening on to the Landing.

It was most likely built as such but then altered to accommodate the installation of the Lift.

Contents The contents of this room are mostly of army memorabilia from the regiments in which three of the Lords Armstrong served: Northumberland Hussars (2nd Lord - William Henry Fitzpatrick Watson-Armstrong 1863- 1941) Northumberland Fusiliers (3rd Lord - William John Montagu WatsonArmstrong 1892- 1972) Scots Guards (4th Lord - William Henry Cecil John Robin WatsonArmstrong 1919- 1987)

Chest of Drawers The pitch pine chest of drawers is by Howard & Sons of London.

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Upper Corridor and Gallery Stairs

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Cragside:Upper Corridor and Gallery Stairs Details Original house 1863 Architect Unknown Remodelled 1872-1874; 1876 by Richard Norman Shaw When Shaw first altered this part of the house in 1872 - 1874 he simply added an upper flight of stairs over the new entrance. It appears that later (around 1876) he entirely re-planned the upper section, using majolica tiles similar to those along the ground floor passage. The alterations presented difficulties, and at half landing level the lowest lights to the great window over the entrance with its stained glass had to be blocked to accommodate the new arrangement.

Contents Carpet Durham Dursax carpet runner made to specification in 1978, matching colours and design of original carpet China Ridgway, gifted to Cragside circa 1980. Unmarked and once considered to be Rockingham Ceramic Figure (in china cabinet) lying with bandaged head - possibly of St Cecilia, the Catholic patron saint of musicians - made for the Art Union of London Photographs Joseph Swan Lady Winifreda (top) - Lady Kathleen (3rd wife of 2nd Lord) (in (in office alcove) peeress’ robes) 2nd Lord in jovial mood 2nd Lord (in peers’ robes, top) Pictures Drawings of Bamburgh by General Sir John Adye 1819-1900 (father-inlaw of 2nd Lord) (Left side from Red Landing) Cartoons of the nobility from Vanity Fair, mostly by ‘Spy’ (Leslie Ward) dated between 1876 and 1908 - all with titles and handwritten identities (Right side from Red Landing) Drawings of Bamburgh by General Sir John Adye 1819- 1900 (father-inlaw of 2nd Lord) Print of Festival at Ville d’Arras by C H Hoffbauer Engraving - Funeral of Edward VII (1910) signed Hatherie, Scott & Harper, principal mourners:King George V Kaiser Wilhelm II (Princess Royal’s husband) Duke of Connaught (3rd son of Queen Victoria) William George Armstrong’s statue outside Hancock Museum https://dl.dropboxusercontent.com/u/243044769/galleryStairs.html

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Upper Corridor and Gallery Stairs

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William George Armstrong’s statue outside Hancock Museum Bamburgh Castle, pre-conquest fragment - signed Charles C Hodges Effigy of a Knight - signed C C Hodges Trinity House Signals used at Bamburgh Castle Bearded gentleman, published April 1792 Mr F W Warre-Cornish (another cartoon by ‘Spy’ - see above) See Index of Artists for details Taxidermy Gyrfalcon by John Hancock. (in Office alcove) Tiles Majolica style, made by Frederick Garrard at the Millwall Pottery.

Those between the servants’ door and the landing are of poorer quality, and appear to have been made in half segments as opposed to the quarter segments of the others.

Bronzes (Gallery Stairs)

Caractacus (the statue with arms extended, holding a shield and axe). Inscribed ‘Executed in bronze by John Hatfield from the original by J H Foley for the Art Union of London 1862’. The original was commissioned by the City of London for the Egyptian Hall at the Mansion House.

Menelaus holding the body of Patroclus after he had been killed by the Trojan Hector, J H Foley,19th Century.

The third statue cannot be identified, but is thought to be French.

Paintings on staircase Bamburgh Castle - H H Emmerson The Little Milk Maid - Charles Edouard Frere A man in 18th century dress - H H Emmerson Stained Glass The glass was supplied by Morris and Co. in 1873. The panels of quarry glass with flowers diagonally arranged have been attributed to William Morris and Philip Webb.

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The Watercolour Gallery

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Cragside:The Watercolour Gallery Details Built After 1884 This small space to the north adjoining the Gallery was provided to display watercolour paintings, and currently includes works by: E W Cooke R. A., Frederick Goodall, R. A.; H H Emmerson; T. M. Richardson; Clarkson Stanfield R. A. The room has been repainted dark green on the basis of scrapes and the dado has been re-stencilled from a pattern found behind the radiator.

Central heating was by eight section vertical pattern heater.

Contents Bronze Statue of Mercury The messenger of the gods, after Giambologna.

Cabinet Louis XV ormolu mounted red tortoiseshell boulle and ebonised Bonheur du Jour.

Gilt prie-dieu chair Seat and back upholstered in tapestry, possibly by Dorothy Watson, sister of the 2nd Lord Armstrong.

Jardiniere On piano - cream and green with a slight lustre, marked W.M.Bonn.

Photographs On windowsill:Polish pianist Jan Paderewski (1860 - 1941). Paderewski was a Polish pianist, composer, diplomat, politician and second Prime Minister of the Republic of Poland. A 1937 American film 'Moonlight Sonata' was filmed at Rothbury with musical interludes performed by Paderewski.

Man at piano with large dog, signed Alexander Friedrichs 3 XII 1905.

Piano BlĂźthner grand, 1913, richly figured satinwood, a smooth wood with a hard lustrous finish. Its appearance depends on how the timber was cut. True satinwoods came from the East and West Indies, Jamaica and Ceylon. A donation in 1988.

Pictures See separate sheet and Index of Artists for further information Watercolour Picture On piano - 'Sir William George Armstrong, 1st Baron Armstrong of Cragside and family playing cards' by H H Emmerson, (unfinished).

Sculptures On windowsill:'A Falcon' in white metal by John Hancock dated 1862.

Bronze entitled 'Two Woodpeckers' by John Hancock dated 1875.

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The White Bedroom

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Cragside:The White Bedroom Details Original house 1863 Architect Unknown Remodelled In first extension 1870-1872 A family room from the original house decorated in the late Victorian style. The recess behind the bed was originally a window with a view down to Tumbleton Lake, but this was filled in when further rooms were added.

The heating was provided by the open fire.

Contents Carpet Rug is Turkish Kilim (a flat tapestry woven carpet with no pile) dating from second half of 19th Century Furniture Painted a fashionable white between the world wars .

Wallpaper 'Bird and Trellis' the first wallpaper design produced by the William Morris and Co. and made by William Morris himself, with the help of Philip Webb who drew the birds and insects on the trellis. It has been reprinted using the original blocks from part used rolls found in the house, one dated 1864.

Cedar Linen Cupboard In corridor.

A door on the right leads to a walk-in cupboard for storing linen, cedar being a natural insect repellent

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The Yellow Bedroom

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Cragside:The Yellow Bedroom Details Original house 1863 Architect Unknown A family room from the original house. Although there is now no fireplace, heating would have been from an open coal fire.

Contents China Nothing of note.

Curtains Pelmet is in woollen needlepoint or Berlin work, very popular in the late Victorian period.

Furniture Commercial furniture in the so-called 'Quaint style' of about 1890.

Photographs Include a number of the children of the 2nd Lord, Winny and Will and their mother Winifreda, as well as a group at Alnwick Castle which includes the 2nd Lord and Edward VII. Pictures Include two of views of Cragside painted and signed 1952 by Takanori Oguiss (1901- 1986) (either side of window) Oguiss visited Cragside in July 1952 (Cragside visitors book entry).

See Index of Artists for further details.

Toys

China (bisque) rabbit on windowsill, possibly French or German.

No date.

Juggling skittles belonged to Winny (Winifred Margaret Watson-Armstrong) daughter of the 2nd Lord.

Toy train a donation to Cragside.

Wallpaper A reprint of William Morris 'Fruit', reprinted in 1978 from fragments found dated 1864 and using the original blocks.

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Index of Artists

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Cragside:Index of Artists Biographies of British Victorian painters with works in the Cragside collection.

Entries refer to artists whose work(s) are on display at Cragside.

Abbreviations and Main Sources: DVP = Dictionary of Victorian Painters compiled by Christopher Wood 1978 fl = flourished/active National Trust listing of paintings at Cragside RA = Royal Academy The Artists of Northumbria by Marshall Hall 1982 V&A = Victoria and Albert Museum ABBEY An American artist, illustrator, and painter. Best known for his Edwin Austin 1852 –1911 drawings and paintings of Shakespearean and Victorian subjects, as well as for his painting of Edward VII's coronation ADYE Was a career soldier and a talented painter in water-colours painting General Sir John Miller Adye scenes of his many postings across the world, particularly when in (1819-1900) India and when Governor of Gibraltar. As well as those on display at Cragside, they can be seen in army museums and the V & A. His daughter, Winifreda married the 2nd Lord Armstrong.

AYLING Landscape and portrait painter lived in Chester and Liverpool.

Albert William Exhibited at the RA 1853 – 1892, known for his Welsh landscape fl 1853 – 1892, died 1905 paintings, particularly around North Wales and Snowdonia, portraits, fruit and occasional genre.

BARTHAM, J no details.

BERNHARD no details.

Mary Cragside work: Oil painting of William John Montagu WatsonArmstrong, 2nd Baron Armstrong of Bamburgh and Cragside (18921972) painted in 1973.

BOUTIN V no details.

CARMICHAEL Marine, landscape and figure painter in oil and watercolour.

John Wilson 1799 -1868 Draughtsman, illustrator and drawing master. Born in Newcastle to a shipwright, Spent time at sea as a boy. Had established his painting workshop by the age of 23, which he shared with landscape painter Thomas Richardson Senior. Exhibited his work at the Royal Academy between 1835- 59, the British Institution, the Society of British Artists and elsewhere. Artist for the Illustrated London News in the Baltic theatre of the Crimean War. COOKE Born London. Painter of river and coastal scenes in oil and Edward William 1811 – 1880 watercolour. Son of George Cooke, an engraver. He took up painting in oil and travelled in France, Scandinavia, Holland and Egypt. Exhibited at RA, 1835 – 1879. https://dl.dropboxusercontent.com/u/243044769/index_of_artists.html

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Index of Artists

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at RA, 1835 – 1879.

DADE no details.

Frederick 1874 – 1908 DAVISON Although qualifying as an architect, he did little work in that Thomas Raffles 1853-1937 profession and is best known as an architectural illustrator. He was employed by, and later became editor of the architectural magazine 'The British Architect and Northern Engineer'. As such, he made thousands of drawings which were published under the title 'Rambling Sketches'.

DICKSEE Specialised in paintings of animals (especially deerhounds) and Herbert Thomas 1862 – 1942 historical genre subjects. He also painted lions and other big cats at the London Zoo. Was a Fellow of the Zoological Society of London.

DICKINSON An English portrait painter and Christian socialist. He taught drawing Lowes Cato 1819 – 1908 with Ruskin and Rossetti. He was a founder of the Working Men's College in London. He corresponded and worked with the central participants of the Pre-Raphaelite Brotherhood, lecturing with both Dante Gabriel Rossetti and John Ruskin. He had a studio in the same building as John Everett Millais and taught Ford Madox Brown.

DIXON Brother of [David] Dippie Dixon with whom he ran a General John Turnbull 1844-1926 Dealers and Drapers shop in Rothbury, he was a talented topographical artist and illustrator of his brother’s books, notably Upper Coquetdale 1903.

EMMERSON A landscape, seascape and portrait painter in oil and watercolour. He Henry Hetherington 1831-1895 was born in Chester-le- Street and attended the Union British Schools where he was encouraged to draw marine subjects.

Emmerson exhibited at the RA until two years before his death, a total of 58 paintings. Derived his subject matter almost exclusively from Northumberland. Lord Armstrong was a notable patron.

FINDLAY no details. [N: there is also an A H Findley] AH FLEURY Exhibited one landscape 1865. On the lower bar of the stretcher on W de fl 1865 back of a painting at Cragside bottom left, there is an annotation 'W de Fleury 1864.'

FRERE No further details Charles Edouard 1837 - 1894 GALLWEY Governor of Bermuda. No further details.

Lt General Sir Thomas Lionel 1821 – 1906 GARVIE Born Morpeth, painted portraits, biblical, genre and Italianate subjects Thomas Bowman 1859 – 1944 and rustic scenes. Exhibited at the RA 1886 – 1903. Lived at Morpeth, later at Rothbury and then Forest Hall near Newcastle .

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Index of Artists

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GLEN NT Collections mentions painting of Cragside 1916 oil on canvas. NT Graham (fl. 1897-1940) Cragside database also mentions painting of Bamburgh (no date), both in the Gun Room, now the Electrical Room, when database was created. Imperial War Museum website mentions 'Glen was suggested to both the Ministry of Information and the Imperial War Museum as a possible official artist.

GOODALL (NB: DVP gives dates as 1822 – 1904) His early works are mainly Frederick 1829 – 1904 genre and peasant scenes later he specialised in views of Egypt, scenes of Egyptian life and biblical genre. Elected Royal Academician 1863.

HARCOURT Born Dunbartonshire, painter of portraits and figurative subjects.

George 1869 – 1947 Exhibited at the RA from 1893. His portrait of Michael Faraday is in the collection of the Institution of Electrical Engineers.

HARCOURT In 1899, married Lewis Vernon Harcourt who became 1st Viscount Mrs Lewis (Mary Ethel) died 1961 Harcourt in 1917. Harcourt was a Liberal politician which might explain why he(?) and his wife were present at the launch of HMS Monarch at Elswick in 1911. This was the subject of her only painting at Cragside.

HAVELL Genre and portrait painter, and lithographer. Frequently exhibited at Edmund Jnr 1819 – 1894 (1899?) the Royal Academy. Queen Victoria's official portraitist.

HEDLEY Newcastle genre painter, born in Richmond, Yorkshire. Studied at Ralph 1851 – 1913 Newcastle Art School. President of Bewick Club and Newcastle Art School. Specialised in scenes of the working life of ordinary people in the north east, including sailors, labourers, recruits and veterans appear most often.

HEMY Born Newcastle, marine and coastal painter. He was the younger Bernard Benedict 1875 – 1913 brother of Charles Napier Hemy and elder brother of Thomas Marie Madawskwa Hemy (see below). Exhibited only two pictures in London, at the Society of British Artists in 1875 – 1877. Also exhibited in Northumberland and lived and practised in North and South Shields.

HEMY Born Newcastle, painter and watercolourist of landscape and Charles Napier 1841 – 1917 seascape. Brother of Bernard Benedict Hemy (see above) and Thomas Marie Madawska Hemy (see below). Studied at Newcastle Art Schools. About 1880, he turned to marine painting, to which he was to devote the rest of his career. Settling in Falmouth, where he died, he spent much time sailing. His marine and coastal scenes of this period, painted in a broad swirling style, show that he had an intimate knowledge and love of the sea. Exhibited at the RA from 1865.

HEMY North Shields marine painter, brother of Bernard Benedict Hemy and Thomas Marie Madawska Charles Napier Hemy (see above). Born aboard the ship Madawska 1852 – 1937 en route to Australia. Returned to and studied in Newcastle. Went to sea for seven years, returning to England after a shipwreck. Exhibited at the RA from 1873 and from around 1883 moved to London. Fond of painting shipwrecks.

HIROSHIGE Born Tokyo, Japanese artist, noted for his drawings, paintings and https://dl.dropboxusercontent.com/u/243044769/index_of_artists.html

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Index of Artists

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Ando 1797 – 1858 woodblock print series including the 53 Stations of the Tokaido or Eastern Coastal Route and 100 Famous Views of Edo (now Tokyo).

These two series greatly influenced the Impressionists including Monet. Van Gogh copied two of the 100 famous views of Edo. HODGES Born Wentworth, Yorkshire but spent most of his life in Hexham.

Charles Clement 1852 – 1932 Architectural and ecclesiastical draughtsman and sculptor. Much involved in the restoration of Hexham Abbey. Designed several memorial crosses eg at Durham, Hexham and Rothbury. Died Gateshead.

HOFFBAUER Prolific, French-born artist renowned for his historic murals and Charles 1875 -1957 paintings and impressionistic views of towns and cities.

HOKUSAI Born Edo (now Tokyo). Began painting around the age of six, possibly Katsushika 1760 – 1849 learning the art from his father, who produced mirrors including painted designs round these. Hokusai is best known as author of the woodblock print series thirty-six Views of Mount Fuji which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.

HORSLEY He was a founding figure of an artists’ colony which met every John Calcott 1807-1903 summer to paint in the village of Cranbrook in Kent. Also that year he had won a competition to provide interior decorations for the Palace of Westminster and was commissioned to execute frescoes there. A painting, ‘Prince Hal’ which he submitted was for some reason rejected and Armstrong later bought it to hang in his Banqueting Hall.

HORSLEY Painted portraits and exotic subjects. Exhibited at the RA from 1875, Walter Charles born 1855 including subjects set in Egypt, Turkey and India. Also exhibited a fl 1875 – 1904 watercolour ‘A Present to the Harem’ at the Royal Society of British Artists in London.

JACKSON Landscape and marine painter, born in Bristol, the son of Samuel Samuel Phillips 1830 – 1904 Jackson 1794 – 1869. Landscape watercolour painter. Exhibited at the RA from 1852 – 1881.

JOHNSON Exhibited three landscapes in 1878 – 1878. No further details.

J Oswald fl 1876 – 1878 JONES Born near Cardiff. London painter of animals – sheep, cattle and deer Charles 1836 – 1892 in landscape settings. He was well known as an animal painter – generally known as “Sheep Jones” for his skilful painting of sheep.

Exhibited from 1860 – 1891, including the RA (1861 – 1883).

KUNISADA Japanese artist, was the most popular, prolific and successful designer Utagawa 1786 – 1864 of woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai (see above), Hiroshige (see above) and Kuniyoshi (see below).

KUNIYOSHI Born Edo (Tokyo). He was the son of a silk dyer. The range of Utagawa 1798 – 1861 Kuniyoshi's preferred subjects included many genres: landscapes, beautiful women, Kabuki actors, animals, battles of samurai and https://dl.dropboxusercontent.com/u/243044769/index_of_artists.html

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legendary heroes.

LANDSEER English painter, well known for his paintings of animals, particularly Sir Edwin Henry 1802 –1873 horses, dogs and stags. The best known of Landseer's works, however, are sculptures eg the lions in Trafalgar Square, London.

LANDSEER An artist best known for his engravings and etchings, particularly Thomas 1793 or 1794 – 1880 those of paintings by his youngest brother Edwin Landseer. (see above) LEIGH Insufficient information for positive identification.

NEWSON No details.

Alfred OGUISS Japanese artist born in Inazwa. Studied at the Beaux Arts in Tokyo Takanori 1901 – 1986 Settled in the Montparnasse district of Paris. Much impressed by the work of Maurice Utrillo. Returned to Japan during the Second World War when he became a military artist. Returned to Paris in 1948, where he spent the rest of his life.

PATRY Member of the Society of British Artists. London painter of portraits Edward 1856 – 1940 and genre. Painter in Darmstadt. Exhibited from 1880, at the RA Brussels.

PAYNE War artist during First World War. Became noted for hunting, Charles Johnson (Snaffles) shooting, polo, racing and fishing and Indian subjects after the War. 1884 – 1967 PEARSON An English portrait painter. She exhibited 31 works, almost all Mary Martha (née Dutton) portraits, at the Royal Academy between 1821 and 1842. She was an 1798 –1871 early member of the Society of British Artists.

PETTIT Birmingham landscape painter. Exhibited at the RA, 1849 – 53. Works Joseph Paul fl 1845 – 1880 include views in England, on the Thames, in the Alps and in Savoy. died 1882 PLUMMER Born Newcastle upon Tyne and articled to Matthew Thompson there, Arthur Benjamin 1855 – 1925 gaining experience in London before returning to Newcastle to set up business on his own account. He worked mainly on designs for churches and restorations and was Diocesan Surveyor for Lindisfarne from 1892.

PRIOR English Arts and Crafts architect. Articled to Norman Shaw, he Edward Schroeder 1857–1932 established his own practice in 1880, and was a founder-member of the Art Workers Guild. He designed St Andrew's, Roker, Monkwearmouth, Sunderland (1905–7), one of the best churches of the Arts-and-Crafts movement, containing work by Burne-Jones, Ernest Gimson and others.

RAEMAEKER A Dutch painter and cartoonist noted for his anti-German stance Louis (1869-1956) during WWI and left for England because of bounty reward on his head. He published cartoons in ‘The Times’ and a collection, ‘Raemakers’s Cartoon History of the War’ was also released.

RAINBOW No details. Initials only (“FR”) on painting. https://dl.dropboxusercontent.com/u/243044769/index_of_artists.html

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Francis RAMSAY Born Sheffield. Portrait, historical and genre painter. Many of his James 1786 – 1854 patrons were from Newcastle and the North East and after 1846 he settled in Newcastle where he died. Among his many sitters were Thomas Bewick and Earl Grey. Most of his portraits were members of northern landowning families.

RICHARDSON Newcastle landscape painter and watercolourist. Exhibited at the RA Thomas Miles (Senior) 1784 – 1848 1814 – 45. His subjects are mostly views in the North East. With Thomas Bewick and others he organised in 1822 the First Fine Art Exhibition in the North of England. He also helped to found the Northern Academy of Arts.

SCHMIECHEN German artist.

Hermann 1855 - 1895 SHAW Born Edinburgh. Architect whose styles ranged from High Victorian Richard Norman 1831 – 1912 Gothic through Old English and Queen Anne to Edwardian Baroque and Classicism in his later life. Architect of Cragside during the period 1869 – 1884. worked for George Edmund Street, for whom he worked between 1858 - 1862. Here he worked alongside William Morris, and Philip Webb, both of whom, with other future colleagues James Forsyth and William Lethaby, were to make notable contributions to Cragside.

SHORE 4th Baron Teignmouth. Exhibited two works at the RA 'A Peep of the Capt the Honourable Galleries, Gibraltar' and 'The Bone of Contention, Morocco' and one Frederick William John work at the Society of British Artists.

1844 – 1916 (fl.1870-1895) SORBI Born in Florence, he is known as one of the most important 19th Raffaello 1841 – 1931 century Italian painters of historical genre using in particular antique, medieval and 18th century subjects. His pictures display great attention to detail with a masterly understanding of light and a perfect arrangement of figures in the composition. The Cragside painting is a rare example of his early work.

STANFIELD Born Sunderland. Marine painter in oil and watercolour. At first William Clarkson 1793 – 1867 worked as a scenery painter in theatres in London and Edinburgh. A close friend of Dickens, he painted much of the scenery for his private theatricals at Tavistock House. Exhibited at the RA 1827 – 1867. He was commissioned by William IV to paint 'The Opening of New London Bridge' and 'Portsmouth Harbour'.

STRY (STRIJ) Abraham van Stry (Strij) and his younger brother Jacob (1756 – 1815) Abraham van 1753 – 1826 were born in Dordrecht, Holland and worked in the style of its 17th century school.

SURTEES Born Ebchester. Painter of landscape, genre and architectural subjects.

John 1819 – 1915: Lived in London, Newcastle and later Cannes. Exhibited at RA 1849 – 1889.

TRAIN Born Gateshead. Painted Highland landscape. Lived and worked in Edward 1801 - 1866 Northumberland. Made a visit to the Hebrides and Shetland and https://dl.dropboxusercontent.com/u/243044769/index_of_artists.html

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specialised in Highland scenes. Subjects mostly mountain scenery. Also a portrait painter. Drew a portrait of Thomas Bewick.

TURNER Born London. Studied at the RA Schools. Began as a water colourist Joseph Mallord William but turned to oil painting in 1796. Travelled in Switzerland, Italy and 1775 – 1851 France. He explored light, colour, natural effects and landscape and these became increasingly abstract (eg Norham Castle and Rain, Steam and Speed). A very prolific artist, he bequeathed over 300 oil paintings and nearly 20,000 drawings to the nation.

UNWIN T No details.

UTAMARO Born Edo (Tokyo). Japanese printmaker and painter who is considered Kitagawa 1753 – 1806 one of the greatest artists of woodblock printing. He is known especially for his masterfully composed studies of women. He also produced nature studies, particularly illustrated books of insects.

Influenced the Impressionists, particularly with his use of partial views and his emphasis on light and shade.

VERNON-HARCOURT Daughter of Admiral Frederick Edward Vernon-Harcourt (1790Emily Anne 1837 – 19? 1883). There is a letter in National/County archives from Emily to Armstrong in 1884 in reply to one from him thanking her for a sketch. This could refer to the two small watercolours now displayed at the foot of the main staircase in the House.

WALLER Born Gloucester. She studied at The RA Schools. Portrait and genre Mary Lemon 1851 - 1931 painter. Exhibited RA 1871 – 1916. Specialised in portraits of children.

Wife of artist Samuel Edmund Waller.

WARD British portrait artist and caricaturist who drew or painted numerous Sir Leslie Matthew 1851 – 1922 portraits which were regularly published by Vanity Fair, under the pseudonyms 'Spy' and 'Drawl'.

WATTS Born in London. Exhibited at the RA 1837 – 1904. Watts said of his George Frederick 1808 – 1894 paintings 'I paint ideas, not things.' Creator of grand historical works eg 'Love and Death,' 'Hope,' 'The Spirit of Christianity,' 'Love Triumphant' etc. Now he is known for the portraits he painted of his famous contemporaries. He was also a sculptor and academic draughtsman.

WESTPHAL Painted figurative subjects. Exhibited four subjects at the Society of Miss F fl 1864 – 1867 British Artists including 'A Woman of Heligoland' and 'The Morning Hour' and two works at the RA. WOODVILLE An English artist and illustrator, who is best known for being one of Richard Caton 1856 – 1927 the most prolific and effective painters of battle scenes in the late 19th and early 20th centuries.

YOSHITOSHI Born Edo (Tokyo). Widely recognized as the last great master of Tsukioka 1839 – 1882 Ukiyo-e, a type of Japanese woodblock printing. Two of his famous woodblock series are One Hundred Stories of Japan and China (1865–1866) and One Hundred Aspects of the Moon (1885–1892).

https://dl.dropboxusercontent.com/u/243044769/index_of_artists.html

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Hydropower at Cragside

Date Contacts

February 2014 Sarah Pemberton, consultancy manager Andrew Sawyer, conservation officer

Work is currently underway to introduce a modern hydroelectricity system which will produce enough energy to light Cragside house and enable Cragside to re‐tell the story for which it is famous. The first phase of this project involves dropping the water levels in Tumbleton lake to allow the installation of the Archimedes Screw hydroelectric turbine. The Archimedes Screw will be placed at the southern end of Tumbleton lake (near to the entrance drive), at an angle that allows water to pass between the lake and the burn below. As water passes through the spiral blades it causes the screw to turn, thereby harnessing the energy of falling water. Work is expected to be completed in spring 2014.

Further details Cragside was the first house in the world to be lit by hydroelectricity using arc lamps in 1878. The Library was the first room in the world to be lit using Joseph Swan’s incandescent light bulbs with electricity derived from hydropower in 1880.

The Archimedes Screw is a centuries old system which is used today to generate electricity. The design of the Archimedes Screw is attributed to Archimedes of Syracuse in the 3rd century BC when it was originally used to lift water up an incline. Recently, scientists and engineers determined that it is possible to produce electricity by letting water drop through the screw. These ‘reverse’ Archimedes Screws are becoming a popular form of a micro‐hydro generation in places such as Cragside.

The Archimedes Screw at Cragside will use the power of the water from Tumbleton lake, fed from Debdon Burn, which rises on the surrounding moors. It will harness the water of this large area to power this modern screw turbine; quite literally turning water into electric light.

The water enters the screw at the top and the weight of the water pushes on the helical blades of the screw, allowing the water to fall to the lower level and causing the screw to rotate. This rotational energy can then be harnessed by an electrical generator connected to the main shaft of the screw turbine.

The screw is made from galvanised metal and measures over 1.6metres in diameter and is 17metres long. It weighs several tonnes and will need to be craned into position.

The screw will generate electricity over a wide variety of flow levels in the burn and when operating at its optimum will produce about 12kW of electricity. Over the course of a year we expect provide about 10% of Cragside’s electricity.

This is equivalent to lighting all the lights in the house for a year but not enough to run all our computers, fridge and freezers etc. It will however, fulfil and continue Lord Armstrong’s dream of lighting his house by hydro‐power The electricity the screw produces will be fed into the house supply with any surplus power going to the national grid. It will also contribute a further 5‐10% of energy in the region being sourced from a renewable energy.

Letter to 'The Engineer' magazine January 1881 Armstrong described his lighting in a letter to 'The Engineer' magazine in January 1881. 'The vases being enamel on copper are themselves conductors and serve for carrying the return current to the base. The entering current is brought. to a small insulated mercury cup in the centre of the base, and is carried forward to the lamp by a piece of insulated wire. The protruding end of this wire which is naked and dips into the mercury cup when the vase is set down. Thus the lamp may be extinguished and re-lighted at pleasure merely by removing the vase from its seat and setting it down again.'

In addition, four lamps were 'clustered in one globe ground glass suspended from the ceiling in the [bay window] recess.'

'Each single lamp is about equal to a duplex kerosene lamp well turned up and this, I believe is equivalent to 25 candles ...... ' At this time, Armstrong's dynamo was driven by a turbine powered by the Debdon Burn at a location near to the site of the present Debdon Lake. The Power House was not built until 16 years later. The voltage was 110 volts DC. In 1881 each of Swan’s bulbs was hand-made and cost 25 shillings - the equivalent of nearly £100 today; by 1883 the cost had fallen to 5 shillings - still very expensive!

By 1891 a central pendant with eight bare light bulbs (like that in the Dining Room) had been added.

The ornate metal lamp shades on 'rise and fall' fittings were installed some time between 1891 and 1895 and were made by Lea, Sons and Company of Shrewsbury who specialised in 'metalli-floral' light fittings.

StainedGlass

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Stained Glass The stained glass in the bay window was supplied by Morris, Marshall, Faulkner & Co. in 1873. It can be divided into two groups, a central group relating the story of St George and the Dragon with a pair of windows on each side depicting writers. From left to right the windows are: 1 Dante and Chaucer (1863) by Edward Burne-Jones (behind curtain) 2 Spencer and Milton (1872)) by Ford Madox Brown 3-8 George and the Dragon (1862) by Dante Gabriel Rosetti 9 Virgil and Horace (1872))by Edward Burne-Jones 10 Homer and Aeschylus (1872) by Edward Burne-Jones (behind curtain) The legend of St George and the Dragon provided Morris’s company with its first successful commissions as decorators. The firm's stained glass windows were particularly popular and they soon began producing secular designs for use in the home. A set of the panels of the legend of St George with the same design is also held at the Victoria and Albert Museum though they are smaller and the proportions different.

Apart from the figures of Virgil, Horace and Milton, the other writers in the series appear to have been painted from the cartoons originally designed for Peterhouse, Cambridge, though there the poets appear singly against quarry grounds. Milton at Peterhouse is represented as a young man, whereas at Cragside, he is old and blind.

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