Page 45 - Bulletin 19 2015
P. 45

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               walls of the ground storey and chimney detail of the house on the left are particularly fine, in

               my view. I also like the use of white paintwork as a contrast to the natural stone. A detail to
               note is that the re-pointing of the stonework on the house on the right is not quite as subtle as

               that of its neighbour.


               The  new  pan-handle  immediately  next  to  these  houses  is  an  example  of  poor  choice  of
               materials. I would in this case rather see a plastered wall with copings than the fake stone

               boundary wall, or for that matter the wall that has real stone stuck on and not used in a load

               bearing manner. (Fig. 1.62.)


               Rust en Vrede is in a league of its own. (Figs. 1.63 - 1.65.) Superb boundary stone work,

               beautiful gates, mouldings and fencing that breaks the scale. The smaller-scaled coach-house
               is  a  delight.  Some  older  photos  show  the  construction  of  the  wall  with  horse  and  cart

               delivering the stone.


               Watergate  a  bit  further  on  has  particularly  fine  stonework  in  the  boundary  wall  and  the
               building itself has a grandeur unrivalled on the strip. Whereas the Rust en Vrede boundary

               wall is simple and unassertive, this wall is a work of genius. (Figs. 1.66 - 1.69.) Witness the

               curved top of each keystone that pops into the white plastered moulding above, and the ever
               so subtle buttressing that frames the three oval openings. The curved keystone is repeated

               four times in each of these ovals. The lintel above the gate to the cottage consists of a notched
               keystone resting on two cantilevered support stones, and the curved spring-stone echoes the

               timber detailing in the gate itself. The ornate panelling placed on the outside of the fencing is

               a shame.


               Long painted-over frescos by Wynne Quail uncovered, restored and lovely. (Fig. 1.70.)


               These steps were chosen for a number of reasons. Note the granite steps on the left versus the

               sandstone ones on the right. The set back cottage called Corriemar has quaint infill random
               stone that appears sporadically throughout the hillside in different places: perhaps the same

               builder. The formalisation of the water spouts is recent by Civils 2000 and a lost opportunity
               to do something slightly grander in my view. (Fig. 1.71.)
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