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Sited on its own peninsular Trelissick has had five previous owners, it
               has been revised experienced prosperity, collapse and change. Donat-
               ed to the National Trust by Ida Copeland in 1955 afer the death of her
               son Geoffrey.

                A house has been here since 1750, when a two- storey villa was built
               by John Lawrence. In 1805, the estate was purchased by Ralph Allen
               Daniell, he enlarged the park and added a new pleasure grounds and
               kitchen garden. In 1825, Ralph’s son remodelled the house in a Grecian
               style. Due to the building costs and the prevalent slump in mining of
               1832 he was bankrupted, he sold the Trelissick to Lord Falmouth. The
               Gilberts were next to own Trelissick when in 1844 John Davies Gilbert
               purchased the estate. Trelissick’s House and garden became the prop-
               erty of Leonard Cunliffe a banker in 1928 when he bought the freehold
               when the estate had been divided in 1913. In 1937, Cunliffe’s step
               daughter Ida Copeland inherited Trelissick, Ida and her husband
               Ronald transformed the garden and continued to evolve the planting
               throughout their time at Trelissick.
               Whilst sketching within the house, I was taken by the Music room
               Interior, especially the positioning of the piano its relation to the
               window that provided views out across the parkland to the sea
               beyond.  At the time a pianist, one of the room guides was playing
               Shubert which created a timeless ambiance. Two sisters were listening
               to the music, and one of the sisters was particularly interested in the
               playing. The pianist invited her to take over and try the piece for her-
               self, whilst she was playing, I sketched the two young women. The
               composition explores the notion of being lost in the music firstly the
               sister playing lost in concentration, and the other in listening whilst                                            The Music Room,  Trelissick Estate,
               gazing out to the scene beyond. The music connects the inner space of                                                         Oil on panel  x inches
               the room, the experience of the notes being played and the expanse of
               the outer world beyond. The painting evokes the sense of time past
               when such activities were common place by the various past owners of
               Trelissick.
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