Pale Hall

Pale Hall is a large Victorian country house built in the Neo-Jacobean style between 1869 and 1871. The house is constructed of pale, finely-tooled sandstone ashlar blocks with smooth ashlar dressings, a brick core, and slate roofs. It has an irregular plan consisting of a main, roughly rectangular block of two and three storeys, with a lower three-storey service section adjoining to the south-east. This service section, extended between 1910 and 1915, partly encloses a service court to the east and incorporates a service accommodation wing designed in the manner of a chapel, with a Wrenaissance tower at its centre that effectively serves as an estate clock tower.

The house sits on a moulded plinth and features asymmetrical elevations with mullioned and transomed stone windows, mostly of cross-window type, though some are multi-light, single-light, or two-light windows, all with plain glazing throughout. Decorative string-courses run along the first and second floors, the latter with strapwork relief decoration. The roofline is defined by pierced parapets with conjoined ovals above a moulded cornice. The chimney-stacks are grouped, mostly in twos and threes, some with spiral decoration in the Tudor style and most octagonal in shape, all with moulded bases and capping. Many of the original cast iron hoppers and downpipes survive, with relief crests to the hoppers, though some modern replacements are present.

The entrance facade faces north and has a main three-storeyed block with a tower over the entrance to the right, a lower single-window block further to the right, and a lower canted wing advanced slightly to the left. The entrance itself features a single-storey Renaissance-style porte cochere advanced in front of a four-storey tower that contains the entrance on the ground floor. The porte cochere has a pedimented arch to the front with narrow flanking pierced sections containing open oval oculi above. Corner pilasters carry a strapwork frieze with carved head bosses, and a moulded cornice supports a pierced balustrade with geometric finials at the corners. The structure has broad, depressed-arched sides and a panelled oak roof with a central glazed overlight. Above the central keystones on all three sides are portrait heads, including one of Robertson himself on the right side. This portrait has a relief-carved steam engine on the keystone below and the motto 'Ex Fumo Dare Lucem' inscribed on the archivolt to either side. On the soffit of the keystone of the main front arch appears, in raised letters and figures, '1869 HR 1871'. The entrance is accessed via four stone steps leading to ten-panel oak double doors.

The tower above has a flat, balustraded roof with a raised cartouche at the centre bearing the monogram HR, together with the flanking figures 18 and 70. To the right of the tower is a lower two-storey bay with a three-light transmullioned window to the ground floor and a canted oriel window to the first floor above. This oriel has a parapet with decorative trefoil finials and is set off by a strapwork ogee gablet at the centre of the roof parapet behind. To the left of the tower, set back very slightly, is a three-storey section of three bays, with the left-hand bay forming a narrow, advanced, rectangular stair tower. This stair tower has a semi-octagonal, medievalising ground-floor extrusion and a squinched oriel in the corner above. A central lateral chimney is corbelled-out at first floor level and projects slightly. Transmullioned windows flank this chimney on the ground and first floors, with two-light mullioned windows above. Beyond this section, further to the left, is a lower two-storey section with a broad canted front featuring a projecting chimney. Cross-windows are positioned to the sides, with those to the upper floor (the billiard room) being taller. Rising up behind the main facade to the left is a square water tower with faux-machicolated battlements and corner turrets. This tower has a 20th-century pyramidal felt roof, though it originally had a surmounting ogee dome.

The west elevation has four bays and is two storeys high with cross windows. A three-storey advanced, canted bay occupies the second bay. The south elevation has a four-bay main section. To the left is a broad two-storey bow window with three cross-windows to each floor and an ogee gablet behind its bowed parapet. To the right of this is a bay with five-light transmullioned windows to the ground and first floors, diminishing correspondingly in size, and a three-light window to the second floor. Further right are cross-windows on the ground and first floors, with a two-light window to the second floor. To the right of this is a three-storey canted bay with single-light windows and a segmentally-arched, chamfered garden door to the left (west) return. Adjoining this elevation at right-angles to the south is a lower three-bay service section, with the right-hand gabled bay advanced and designed in the manner of a rectangular chapel with a large central bell tower. The left-hand bays have an advanced three-bay round-arched, parapetted loggia which slightly overlaps the gabled bay. The left arch is blind, whilst the remaining two form a garden recess. Three-light windows are set back above to the upper floors. The gabled wing has a round-arched entrance with steps up and a keystone, with a part-glazed modern door. Two-light windows are positioned above with a surmounting ogee gable. The clock tower is square with a stone pyramidal roof surmounted by a bell cupola, itself with a tall pyramidal roof. Each side has a clock-face with a moulded label and geometric finial.

The east side has a service court enclosed by high stone walls on the north and east sides, with rusticated gatepiers and panelled gates providing access from the service drive. The courtyard has a two-storey block running eastwards (the faux-chapel range) with a triple-arched lean-to loggia to the ground floor and two- and three-light windows to the first floor above. A single-storey store range stands at right-angles to the north, with a pitched slate roof and cross-windows. The rear of the main block has the square water tower projecting slightly to the centre with three bays to the left having two shallow gables. The left-hand bay has a two-storey canted bay window. Mullioned and transmullioned windows are positioned in this and the adjacent bays on the ground and first floors, with two-light windows to the second floor. The billiard room range overlaps the tower slightly on the right.

The interior is characterised by richly eclectic detail and is planned around an internal, top-lit full-height stair. The principal rooms are arranged in two ranges to the west and south, with extensive service accommodation grouped to the east. The entrance hall has a polychromed tiled pavement and a barrel-vaulted ceiling with simple coffering. A grey figured marble fireplace features a moulded round-arched opening with inset spandrels and carved heraldry to the key, and a moulded mantelpiece supported by consoles. The grate is of polished brass and blackened steel, the brass with raised volute decoration. Blind arched niches flank the fireplace, with decorative latticed radiator grilles below. A six-panelled faux double door to the services is positioned at the left, with a moulded architrave and three-panel shallow overdoor with moulded cornice. All joinery is oak throughout.

The main stair hall is entered through a pair of six-panel doors with frosted, decorative glass to the upper sections, fitted with fine decorative brass door furniture in eclectic Gothic style. The doorway has a large segmental arched overlight with Renaissance-style frosted glass, finely-carved foliated spandrels, and a deep moulded cornice supported by Renaissance figurative consoles to the advanced outer sections, with a scrolled, foliated key to the centre. Above this is a fine strapwork pediment with garlands and obelisks flanking an oval cartouche to the centre. This cartouche has a carved motto in raised lettering below: 'Welcome the Coming/ Speed the Parting Guest'. Surmounting the cartouche is a moulded pediment, and flanking the whole are carved heraldic beasts carrying cartouches on square plinths with strapwork and rosette decoration. These bear the figures 18 and 71 respectively.

The stair hall has a fine parquetry floor of conjoined geometric shapes and panelled walls with large-field flush panels above a moulded dado rail with small-field moulded-panel dado. The panelling features a frieze of nail-head and egg-and-dart motifs, turning to roundels set in horizontal panels for the stairwell, which rises from the hall at the left end. A large Renaissance-style fireplace has female Term figures flanking a segmentally-arched opening and supporting the advanced ends of a richly-carved cornice with egg-and-dart and dentilated ornament, with a surmounting strapwork and foliate frieze. A moulded mantelpiece has a central projecting key. The surround is of polished black marble with polychromed tiles to the sides and rear. The central architectural grate is in the form of a proscenium with a depressed arch, pediment, Ionic columns and swags, of polished brass and blackened steel. A polychromed tiled hearth has a black marble hearth kerb. The fireplace overmantel consists of a large mirror with an Ionic frame and dentilated cornice, with a central supporting corbel of winged cherub-head type. The surmounting pediment features fruit basket and owl figures with foliate carving.

Four six-panel faux double doors lead off to the main reception rooms, each with panelled reveals, moulded architraves and segmental pediments with carved friezes. The main stair occupies the left end of the hall and is of well type with an upper gallery, leaving two-thirds of the hall full-height and open to the roof. It is in the Jacobean style, with square newels having carved garlands, voluted caps and surmounting pierced geometric finials, and flat, shaped balusters. An L-shaped galleried landing leads to the first floor, with similar balustrading. Four large segmentally-arched openings (three to the side and one to the end wall) light an inner circulation corridor. These openings have moulded pilasters and archivolts with keys and consoles. Two further doors lead off from the stair landing. The ceiling is coved and has a modillion cornice with incorporated cartouches at the springing of strapwork ribs. A three-part top light features strapwork stained glass in six panels.

Leading off from the ground-floor hall is the Dining Room, which has a compartmented ceiling with moulded plasterwork panels and roundels, and a central acanthus rose. Geometric parquetry dado panelling is fitted with a moulded rail. The Victorian-Renaissance fireplace is heavily-carved, with garlands and lion mask corbels to outer pilasters and a scrolled frieze. The segmentally-arched surround is of red-brown figured marble, with a decorative central grate, flanking tiles and kerbing as before. Opposite the fireplace is the buffet in a large architectural niche. This has a mirror to its rear wall with a fine gilded, foliated and moulded frame, surmounted by a carved, gilded head of Bacchus. The Renaissance-style buffet has a central segmentally-arched niche with highly-carved flanking doors featuring high-relief game trophies, dividing pilasters, Green Man masks, swags and strapwork decoration. The rear of the buffet has three panels with high-relief swags flanking a central seafood group, with swagged consoles dividing these and supporting a moulded shelf. Two entrances lead off to the services (left) and Drawing Room (right).

The Drawing Room has a deeply-enriched plasterwork frieze and cornice, both gilded and polychromed, with a strapwork and egg-and-dart frieze and an acanthus and palmette cornice with scroll-work soffit. A large ceiling rose is in similar vein. Opposite the entrance is a large bow window with similar decoration, a simple gilded and moulded architrave, and panelled shutter doors and reveals. The main entrance has an architectural architrave with Ionic pilasters and pediment. An elaborate white marble chimneypiece has a shouldered arch with foliated brackets. Male Term figures support Renaissance corbels on either side of the arch, which themselves carry a moulded mantelpiece. A relief-carved scroll-work frieze has a central fruit basket carving to the advanced key. The grate is as before with Renaissance flanking panels. Surmounting the fireplace is a large contemporary gilded pierglass with scrolled supports, fluted pilasters and moulded cornice, a surmounting cartouche with fruit baskets and scallop shell, and flanking cornucopiae. A similar full-height pier-glass opposite the fireplace is in similar style. Matching, contemporary gilded and carved pelmets are fitted to the windows.

The Boudoir, leading off opposite the staircase, is a small room with a canted end bay and oval domed ceiling. This ceiling has a carved frieze with scrolled relief plasterwork, gilded and polychromed, with oval plaques depicting winged putti. The main ceiling has eight inset roundels with painted bucolic figures depicting the Four Seasons and the Four Elements, on a raised and gilded lattice-work background. A central oval dome features ball and fern motifs to an outer rose and a large acanthus central rose. A white marble fireplace has a shouldered arch and panelled pilasters, with tiles and grate as before. Gilded and polychromed pelmets with bird and ribbon groups in Rococo manner are fitted to the windows.

The first-floor billiard room is of rectangular form with a canted end. It has a coved wooden boarded ceiling with arched-braced quarter-round ribs carried on simple wall corbels. Two rectangular overlights each have six-pane stained glass in strapwork. Fireplaces are positioned at both ends of the room, with simple round-arched chimneypieces of black figured marble. Steel grates have repoussee side panels and polychromed tiles, with hearth kerbs and mantelpieces. Three-quarter height vertically-boarded end walls are in pitch pine.