Syon - one of the last great houses of London

I went to this house before my work. The weather wasn't so good but I didn't like to stay at home long day. It was hard last week and I needed to enjoy the time outside. I thought about this place long time but it was too far for me when I lived in Daventry. It isn't far for me now. 50 minutes by train. Syon House is the spectacular London home of the Duke of Northumberland.  The house was built in the sixteenth century on the site of the Medieval Syon Abbey, and came to the family of the present owners in 1594. Syon has many layers of history and has seen some profound changes over the centuries. Syon House, with its Robert Adam interiors, and the Great Conservatory are exclusive locations for filming and photoshoots.   Recent filming includes ITV’s Poirot, Downton Abbey, Stephen Poliakoff’s Dancing on the Edge, BBC’s Great British Bake-off and most recently in the feature film “Transformers: The Last Knight”.

I met there with very friendly staff of this place who was telling about history of Syon and pointed interesujace  points

more info;  https://www.syonpark.co.uk/

Thank you Staff of Syon House for taken this photo for me

 The decorative stucco work and great beams of the ceiling reflect the pattern of the black and white marble floor. Statues of Roman nobles gaze down from their pedestals and the hall’s focal piece, a replica of Valadier’s bronze ‘The Dying Gaul’, commissioned by the 1st Duchess of Northumberland, holds pride of place at the top of elegant steps leading to the Ante Room.

 The deep vivid colours of the Ante Room are a complete contrast to the gentle yellow ochre of the Great Hall. Ante Room is dominated by twelve Ionic columns veneered in green scagliola. Their clever arrangement gives a square effect to the room.
Two more bronze statues by Valadier, Silenus with the infant Dionysus and Antinous Belvedere, add to the impression of status and grandeur conveyed by the room. Gilded trophy panels and statues of Greek and Roman gods and goddesses have a glimmering presence, casting golden shadows on the patterned scagliola floor below.
A luxurious chaise longue, part of a collection of seating made by Morel and Hughes in 1823, compliments the Ante Room’s aura of indulgence.

 

 Illustrating Robert Adam’s intention to “parade the conveniences and the social pleasures of life”, every aspect of the State Dining Room with its ornate Corinthian columns and marble statues of Ceres and Bacchus representing food and drink, offers the experience and enjoyment of entertaining on a grand scale.
Above the imposing fireplace designed by Joseph Rose, is a marble panel by Luc-Francois Breton of the Three Graces, the daughters of Zeus.  The fine clock in the corner of the room was acquired by the 2nd  Duke and made in England by Swiss clock maker Benjamin Vuilliamy.
Its pedestal contains musical pipes which used to play lively tunes. Gilded candelabras sit on ornate Adam designed pier tables, adding to the opulent atmosphere. 
Remnants of the state dining table, which ran the length of the room, can still be seen, hidden in a cleverly disguised cupboard.  With the dining table stored away; one could make room for dancing and much revelry.  The State Dining Room is still used for many celebrations today.

 The Red Drawing Room more than serves Adam’s purpose as an ante chamber to the Long Gallery.  Wall hangings of crimson Spitalfield silk clothe the room with rich warmth.  Opulent pier tables designed by Adam include antique mosaic reputed from the Baths of Titus in Rome.  The carpet by Moore of Moorefields is nearly as vibrant as it was when it was woven in 1769.  239 roundels on the ceiling painted by Cipriani attract the visitor’s eyes upward to view heavenly and earthly figures. 
 The Red Drawing Room houses an important collection of portraits of the Stuart royalty and the Percy family.  Algernon Percy the 10th Earl of Northumberland, whose portrait is over the door leading from the State Dining Room, played an important role during the English Civil War, ultimately being made guardian of Charles 1st’s children, during the time the king was held under house arrest at Hampton Court.  It is said that Sir Peter Lely’s portrait of Charles 1st and the Duke of York was painted here at Syon.

 

 The Long Gallery was planned by Adam for the particular delight of the ladies.  On entering the Long Gallery visitors will see a false bookcase on the right which is in fact a door leading to the south lawn.  Ladies and other guests could promenade the length of the gallery, which measures 136ft (41.4m) and is highlighted by a decorative turret room at either end.
 Adam’s design used 62 Corinthian pilasters, gilded and painted, along with classical trailing stucco mouldings, to replace the heavy Jacobean panelled walls.  The gallery’s colour in Adam’s day was bright pink and blue, and these original colours have been uncovered after a conservator’s investigation.  A green colour wash was added by the 3rd Duchess in the nineteenth century, giving the softer hue you see today.
Roundels of the Percy family lineage run the length of the room, with portraits of Dukes and Duchesses on one side and the Earls of Northumberland on the other.  Modern family photographs now sit on Demi-Lune pier tables designed by Adam.
As with all of Syon House, the Long Gallery has seen much history and it is said that Lady Jane Grey was offered the crown in the gallery in 1553.

 The Print Room marks a departure from the Robert Adam rooms.  Originally the room was covered in over 100 prints with borders, which had been collected by 1st Duchess during her travels on the Continent.  After the prints were removed, portraits of many of the people who made the history of Syon were hung in this room.  The portraits span the 16th,17th and 18th centuries telling a story from the time of Lord Protector Somerset who built the house in the late 1540s, to the Percy link with North America and the War of Independence.   The Print Room is also highlighted by important pieces of  furniture from the 17th century and a secretaire and desk with tortoiseshell and brass inlay, designed by Andre Charles Boule.

 
 The principal staircase leads to the bedroom corridors remodelled by the 3rd Duke in the 1820s and 1830s.  Two bedrooms on view here are furnished in an Edwardian style and were used as a nursery for the current Duke and his siblings when the family would come to Syon for the spring and summer seasons.  The landing outside these rooms is called the Nursery Passage.   Continuing down the passage to the east front of the house you will find the richly decorated State Bedrooms of young Princess Victoria and her mother the Duchess of Kent. The 3rd Duchess Charlotte Florentia was given the coveted role of being Princess Victoria’s official governess, and in doing so prepared the young princess for her future role as Queen.

Robert Adam proposed to fill the space in the centre of Syon House with a large rotunda, but this was never built.  Historic plans show this area as an empty space, although it was also used for entertainments, such as when the 9th Earl entertained James I.  In 1999 Lady Salisbury was commissioned to design a Courtyard Garden, and the present geometrical design, with gravel paths and parterre beds edged with box hedges, was laid out.

Thanks  Staff of Syon House for interesting telling 

the tidbits of Syon House