The Quiet Presence of Arlington Court
Arlington Court sits within the Devon landscape, a place where the architecture reflects a specific moment of transition. The house, constructed in 1823 and later extended in 1860, presents an austere facade that belies the intimacy found within its rooms. It is a site defined by the long stewardship of the Chichester family, who held the estate for over five hundred years before it was bequeathed to the National Trust in 1949. The building itself, a Gothic Revival structure in dressed ashlar, provides a structured backdrop to a collection that feels deeply personal, as if the objects were gathered by a hand that understood the specific light of the English countryside.
The atmosphere is one of stillness, where the weight of history is felt in the textures of the wood and the arrangement of the objects. It is a place where the boundary between the domestic and the curated becomes thin, particularly when observing the botanical studies and the still lifes that inhabit the space. The collection is not a loud assembly but a series of quiet encounters with the natural world and the mechanics of a bygone era.
The Collected Objects
The holdings at Arlington Court reflect a meticulous eye for detail, ranging from the grand scale of ceremonial transport to the minute precision of a floral arrangement. The collection is organized around several distinct threads of interest:
- A comprehensive collection of over 40 carriages, including the Speaker’s State Coach, housed within the old stable block.
- Paintings by Rosalie Caroline Chichester, including Miss Chichester's Parrot, 'Polly' (1906) and Still Life of Cyclamen, Astilbes and Scissors (1904).
- Works by William Blake, such as The Sea of Time and Space (1821).
- Still life studies by E. K. Lautter, including Kitchen Still Life with Pots and Pans and a Roaring Fire (1749).
- A variety of smaller treasures, including model ships and shells.
In the paintings, there is a tension between the observation of light and the structure of the subject. The botanical works demonstrate a command over texture, capturing the delicate petals of flowers and the sharp edges of metal. These pieces do not merely represent their subjects; they attempt to fix a specific moment of light and form onto the canvas.
The Landscape and the Estate
Beyond the walls of the house, the estate unfolds into a designed landscape. The grounds include a lake, Victorian pleasure grounds, and a series of walks that lead through woodlands and alongside the water. The presence of ancient oak trees and wildflower meadows provides a living context for the art held within the house. There is a sense of continuity between the painted landscapes and the actual topography of the Devon region. The estate remains a sanctuary for local wildlife, with a bird hide and heronry situated near the water, ensuring that the natural world remains an active participant in the experience of the site.
