Greywalls - A Hidden Gem

Written & produced by Roy McGregor

Foreword by Ronnie Corbett CBE

GFA

Greywalls is unique.

It is uniquely situated, uniquely founded

on the visual arts, and with a history that is both

fascinating and multi-faceted.

It has important architecture, with interiors

and artefacts that are both period, yet manifestly

homely. It has wonderful grounds and gardens

that are both extensive and significant.

As a Country House Hotel for the past sixty five

years, it lays claim to being the first of its genre in

Britain, and today boasts a restaurant run by the

international doyen of fine dining, Albert Roux.

Located alongside and overlooking Muirfield

Golf Course, home of what is widely accepted as

the oldest golf club in the world, where the very

rules of golf were written in 1744, many of the

world’s greatest golfers have graced the Greywalls

threshold and discovered its “lucky” charm.

This book takes you there, covers all these

aspects in detail – and in a way that echoes

the style of the place; relaxed, comfortable and

graceful.

It is lavishly illustrated, not just with

photographs, but with the work of ten established

Scottish contemporary artists who spent eighteen

months completing a unique collection of

paintings that portray Greywalls in all its glory

and through its many “gems”.

Greywalls – a hidden gem.

GREYWALLS– A HIddEn GEM –

GR

EY

WA

LL

S – A H

Idd

En

GE

MRoy M

cGregor

GREYWALLS– A HIddEn GEM –

Roy McGregor

Roy McGregor has a wide professional and

business background. He spent thirty years

as a career banker, fifteen years of which was as

Marketing director and then Retail Banking

director of a major UK bank. He then became

Chairman and Chief Executive of a UK Group

of Estate Agencies and Chartered Surveying

businesses, followed by a number of years in

international banking consulting.

His consulting work involved projects in

Spain, Germany, Cyprus, Turkey, Greece and the

USA. He has lectured at conferences across the

world and has written for journals, magazines

and newspapers.

He became a business angel investing in and

managing a number of businesses in advertising,

marketing, tourism, and latterly spent ten years

in manufacturing where he helped build a

substantial business serving the public transport

sector.

Although not of an arts background, his

studies of, and life long interest in, Scottish

painting, led him, with his wife Gail, to open

Gullane Art Gallery & Gullane Fine Arts in 2008.

In 2010 he wrote the biography “Jack Morrocco

– a work in progress”, a book on the established

Scottish contemporary artist.

Today he divides his time between running

the gallery, writing, and playing jazz, swing and

blues music.

Back cover image: “Rococo Gates” – painting in oil by Helen Turner PAI PPAI

Front cover image: Adapted from “Across the Garden – Greywalls” – painting in oil by Helen Turner PAI PPAI

A Limited Edition

Greywalls book cover.indd 1 31/01/2013 16:43

74 • Greywalls – a HIDDeN GeM

An understated entrance

Greywalls – THe GarDeNs IN DeTaIl • 75

Greywalls – THe GarDeNs IN DeTaIl

Unimposing, relatively discrete and understated is the entrance. and this is

by design, not accident. It is all part of the “discovery” that is Greywalls.

your approach is something of a tease, drawing you in, almost phase by

phase.

It starts as you drive up the private road that serves as Greywalls’ only point

of access. you pass a sign, which advises that this is a “Private” road. That word,

private, sets the tone.

Then other signs appear, all related to the Golf Club at Muirfield. It begins

to feel quite formal, authoritative and directive. This is definitely not a public

road. To the first time user and so the non-familiar, it may even seem a little

forbidding, which is intentional, one suspects, as these signs relate to the very

private and exclusive Golf Club. They are intended for its visitors, not for you if

you intend visiting Greywalls, and so you have to ignore them, (if your dare!).

soon however, as you persevere along the road, you see a sign “Greywalls

Hotel and Chez roux restaurant”. This is a relatively recent addition to the

signage, and one that draws your attention to the “commercial” status of the

Hotel and fine dining restaurant. Then you turn on to a stone gravel driveway,

passing through two stone pillars, one of which has a very modest and simple

brass plaque with the word “Greywalls” on it. (see page 33)

Then you are on a short driveway that approaches three self-contained lodge

style constructions, two with stairs that lead up to a first floor doorway. Between

these three lodges are another two entrances each flanked with stone pillars,

Chapter 4


with the continuation of the driveway leading both off to the left and right.

But which to choose, and to where do they lead? at first, you cannot see. This

is typical of a lutyens design as he was renowned for his geometric games, and

would use geometric angles to tease you as part of the unveiling of his creations.

as you approach these second pillared entrances, your glance will be drawn

to the left entrance, which is (cleverly, from a design point of view) arrived at

before the one on the right. a glance through the left entrance and there it is

before you. The physical presence of Greywalls opens up – it just unfolds. you

have no need to explore the right entrance, as your destination is now clearly

visible. In fact, the right hand side entrance only leads to a garage block and

gardeners’ stores and workshop.

Moving through the left entrance and you are on a long narrow drive, flanked

on either side by two large and well-maintained lawns, bordered by high stone

walls that are finished in coping of the same grey Dutch roof tiles as are used

on the house. The walls give a feeling of enclosure and distinct completeness.

abundant on the walls are climbing plants, predominantly roses. In season,

they give the expanse of wall touches of colour that both breaks the mass of

stone structure and adds character and warmth to the appearance. The expanse

and physical presence of the walls and their connected nature with the house,

as if an extension of it, is considered to be lutyens’ “finest exercise in extending

the planning of the house into the garden”.(12)

The proportional and visual vastness of the lawns as you approach the house

was originally broken with central flowerbeds planted with roses, as can be seen

in the early photograph shown on page 71. However, during a subsequent visit

to Greywalls by lutyens, he declared his disapproval of the planting within

the lawns, as he saw it as a distraction to the eye, interfering with and drawing

it away from the purity of architectural design of both house and the feature

adjoining walls.

The planting within the lawns was subsequently removed and the flowerbeds

sown with grass to create a simple continuation of the lawns, so that to this day


the view of the House from the entrance driveway is uninterrupted.

ahead, at the end of the drive is the house itself, and it is very definitely

an architectural statement. yet despite the formal and period nature of the

structure and its “presence”, there is already a definite ambiance, an air of

tranquility that seems to evoke a sigh of satisfaction – you have arrived!

It just seems to say “Fàilte Dhachaidh” (scottish Gaelic for “welcome

Home”).

and so you are drawn to and drawn in.

“Greywalls Drive and Entrance” – painting in watercolour by Joseph Maxwell Stuart


From the moment you cross the relatively modest threshold of the doorway

with it’s stone carved message in ancient French atop saying “VNG DIeV,

VNG rOy” (One God, One King), the warmth of the house just engulfs you.

It captivates, with a style that quietly impresses, and you just know without a

moment’s hesitation that here is a house, – no, it is more than that, it is a home

– of some distinction.

VNG DIEV VNG ROY – One God, One King

1213

11

9 8

7 6

14

1

2

5

10

20

3

15

4

1A 1C

1B

16

1718

19

THe OrIGINal PlaNs OF HOUse aND GarDeNs


Naturally the garden planting has changed substantially over the years.

Trees have fallen in storms, hedges have come and gone with frosts, plants have

run their natural course and died off, shrubs have grown at differing rates, and

others have been added. Unfortunately, the wonderful and extensive rose garden

contracted rose sickness and all the roses had to be taken away meaning that the

whole area had to be gutted, with a different planting solution found to replace

them. This took place in 2001.

Taking the plans and giving each distinct part a reference number means that

we can “walk round” the Greywalls’ grounds describing each area in detail. and

so, starting with an approach from the entrance:

Area 1The initial entrance area has been kept natural, unmanicured and relatively

simple, leaving the mature trees and woodland to make its own statement. There

are aged scots pines, sycamore, beech and horse chestnut trees that give the area

a shrouded and shaded atmosphere, with grasses, small ferns and wild flowers

growing in a wild abandoned way, yet the grass borders that are tidily mown hint

at a controlled abandon that sets a tone and establishes an early feel for the place.

The three lodges ( 1a, 1B and 1C) flanked by stone pillars as described earlier,

are in themselves an architectural statement, with the middle lodge having a

ground floor doorway facing you with a stone above carved with” lVDO, erGO,

VIVO”, meaning “I am playing – I am alive”. Originally footmans’ lodges, these

are now fully functioning, self-contained hotel suites.

Area 2The long driveway to the house is flanked by manicured lawns feeding

directly to the enclosing walls, which, as they surround the whole area, adjoin

directly to the house. The walls are covered with climbing plants – mainly

climbing roses, but also climbing hydrangeas and fruit trees such as a fig tree

near to the house entrance, and a pineapple plant alongside. Planted adjacent


Footman lodge 1A

Footman lodge 1B


The Silver Pear Tree Garden


are fushia, buddleia and Garrya elliptica.

Pathways lead to the Gardeners Cottage (shown as area 3) and in the opposite

direction, to an arched doorway in the wall leading to The silver Pear Tree

Garden (area 5).

Area 3The Gardener’s Cottage

Area 4The Main House

Area 5From the simplicity and expansiveness of the lawns and driveway of area 2,

this part of the garden throws up an immediate contrast as soon as you enter

it. Here the space is extensively and thickly planted, and you need to pause to

take it all in.

The wonderful arched doorway in the wall leads you to a central focus of a

silver Pear Tree (Pyrus salicifolia) positioned at the intersection of pathways that

lead northwards towards the house area and southward toward the perimeter

wall. The area is bordered with climbers on the walls, shrubs all round, and

holly hedges. Planting under the holly hedges shows blocks of contrasting

colours of maroon, purple and gold, with cotinus bushes giving a deep maroon

cover and Lavender hidcote planted in dense fashion behind a stretch of hedging

of yellow and gold leaved Lonicera, baggesen’s gold.

Area 10as you move southerly along the pathway towards the perimeter wall, on the

extreme right is a Rowan joseph rock tree that was gifted by the Horlick family.

This autumn flowering tree is the only rowan tree species to have primrose-

yellow coloured berries.


The border contains a variety of plants such as Alchemilla mollis known as

lady’s Mantle (a lady’s curing herb) that is growing in profusion, crocosmia

that also features prominently, and a number of albertine roses.

walking east you come to the stone Oeil de Boeuf that is flanked by two

mature Irish yew trees that both reinforce and focus the eye on this interesting

stone structure with its open eye giving view to the rolling farmland and

lammermuir hills in the distance beyond. an american Pillar rose grows

around the stucture and helps to soften the straight lines of the stonework.

within the Oeil de Boeuf is positioned a stone garden seat that looks inward

to the gardens, down the tree lined pathway straight in front between parallel

holly bushes towards the house.

“Through the Oeil de Boeuf” – painting in oil by James Harrigan


Continuing past the Oeil de Boeuf to the east end of this area 10 leads you

to a Crab apple tree that was donated by a prominent lady guest in 1979. Her

husband spent all his time on the golf course, while she loved the gardens so

much, she volunteered her time as a gardener and spent the entire weeks stay at

Greywalls weeding the borders!

Area 6, 7, 8, and 9an important part of the Jekyll design for the garden was the creation of room

like structures, each opening up to reveal something unique and interesting.

areas 6, 7, 8, and 9 are now distinctly separate areas doing exactly that.

all are grassed, bordered (walls in effect) by mature high holly hedges, and

contain trees that instantly provide a canopy (roof) and thereby shading to

the whole area. Depending on the weather, the ambiance created moves from

relative darkness to wonderfully shadowed, with varying degrees of light and

shade that offer a mottling and constant movement when breezy or windy.

“Shaded avenue to the south” – pastel by John Mackie


Area 6Here we have six single Flowering Cherry trees in white, although the colour

lasts but for a short while only in the spring. Centred in the space is a lead

sculptured bird-bath closeted in a profusion of ferns.

Area 7within this “room”, again walled by holly bushes, are four mature Flowering

Cherry trees in white, with as a central focus, a large terra cotta olive oil pot.

There is no other planting here to distract the eye from the centerpiece of

the pot.

Just outside the area is another stone sculpture, this time called “Fighting

Boys”, engulfed by crocosmia, giving it a very lived-in feel.

Area 8In this area, as in area 9, the original planting of Flowering Cherry trees has been

overtaken by events – principally wind and storm damage to the eastern side

trees that has meant replacement planting of a hardier species of tree, namely

rowans. Nevertheless, the feeling of shade and enclosure has been continued to

good effect.

Centered in this area, amid a bed of ferns that act as a fringe, is a stone

sculpture of a Peter Pan type Flower Fairy. It is a quiet and contemplative piece

of sculpting and typical of work that was popular within the arts and Crafts

movement of the Jekyll time.

Area 9again a shaded and contemplative area with rowan and Flowering Cherry trees,

this time with a relatively recently introduced stone sculpture by contemporary

artist Jane raven, placed upright in the centre. On one side the words “what

is this life, if full of care” appear beautifully carved, and followed up on the

reverse side with the words “we have no time to stand and stare”


“Flower Fairy” – pastel by John Mackie


The stone sculpture by Jane Raven


LeisuRe

What is this life if, full of care,We have no time to stand and stare.

No time to stand beneath the boughsAnd stare as long as sheep or cows.

No time to see, when woods we pass,Where squirrels hide their nuts in grass.

No time to see, in broad day light,streams full of stars, like skies at night.

No time to turn at beauty’s glance,And watch her feet, how they can dance.

No time to wait till her mouth canenrich that smile her eyes began.

A poor life this if, full of care,We have no time to stand and stare.

from songs Of Joy and Others (1911)

by william Henry Davies (1871 – 1940)


leaving areas 8 and 9 you see firstly a further stone sculpture of a griffin type

character, slightly damaged and as a result given the name “Chinless wonder”;

and then opposite, in the centre of the pathway that divides areas 8 and 9 from

areas 6 and 7, another sculpture, this time in copper, of an Obelisque. This is

one of a series of these ornate items that can be found elsewhere throughout the

property – positioned atop the stone pillars at the entrance to Greywalls.

Area 11The stretch of border and pathway immediately outside the “rooms” of areas 6,

7, 8, and 9, on the east side comprises a double herbaceous border. On the side

under the holly bushes exists a green border with garden seat centred. around

the seat are Gertrude Jekyll roses and senecio.

Facing this, in the other border, is planted on fencing, various climbers

including New Dawn rose and Alchemilla mollis under-planted with purple

alliums and Giant yellow verbascum.

Area 12This is a large area laid out something like a wild meadow. Originally this part of

the garden was used to grow vegetables, however today grasses and wild flowers,

with wild orchids scattered about, are left to grow in wild abandon. early in the

year there is a fine show of spring bulbs – Fritillaria meleagris snakes eye, grape

hyacinths, daffodils and narcissi. They give a colourful display, and as summer

progresses, the area is left to grow naturally without any maintenance other

than a few grass pathways mown to give access to beehives and a garden arbour

adorned with a wedding Day rose and Ceanothus.

There is an interesting avenue of Fastigious Hornbeam trees down the centre

of this area leading to a tall stone sundial that has been converted to a plaque

featuring directional lines pointing towards various worldwide destinations with

distances noted, all of which have been visited by the present Greywalls owner

Giles weaver. Clearly he is much travelled, as names such as The Cariboos;


“Beehives and hens” – painting in mixed media by Christine Woodside

“Garden seat and Jekyll roses” – painting in mixed media by Christine Woodside


Xian, China; racine, wisconsin Usa (the Horlicks factory, which incidentally

was the largest factory in the world at that time); angel Falls, Venezuela; lhasa

Tibet; Ushuaia, Tierra Del Fuego; st Petersburg, russia; Harvard, Boston Usa;

all appear, as do the Muckle Flugga in the north and the Isle of Gigha in the

west coast of scotland.

There is a significant presence of wall around this part of the garden although

it is overgrown with climbers such as purple clematis, pink and white roses,

trained fruit trees, and others.

Hens and bantams are left to roam throughout this meadow part of the

garden, although they have difficulty in surviving the attention of foxes that

scale the walls all too regularly.

a number of beehives nestle amid the grasses giving the area a certain buzz.

“Beehives at Greywalls” – painting in oil by Helen Turner


“Beehives in the meadow” – pastel by John Mackie

“Seat in the meadow” – pastel by John Mackie


Area 13Known as The Greenhouse walk, this area is devoted to greenhouses and cold

frames that service the varied requirements of the hotel kitchen and floral

displays of the house. Interestingly, behind the cold frames is a small area

devoted to the two Greywalls tortoises that have lived there for a period in

excess of eighty years.

Geraniums in pots line the trestle tables, as do a number of plants in need of

special care and temperature control. Herbs and vegetables are grown and there

is a long established vine within one of the greenhouses that offers grapes when

in season. Outside, pots of mint and salad plants line the borders, and tripods

serve as growing frames for runner beans and a magnificent display of sweet

peas. Criss-cross box hedging is in-filled with medicinal or culinary herbs, and

the pathway is lined with nerines and backed by Portuguese laurel hedging.

at the westerly end of this area is a dovecot where the sounds of the white

doves cooing fits perfectly with the surroundings and augments the sense of

busy-ness that is the essence of the area.

“The Greenhouse Walk, Greywalls” – painting in oil by James Harrigan


Area 14Originally, this area was given over to planted borders, however continual

exposure to draft-like winds prompted a re-planning exercise and today simple

grassing and pathways are all that exists. Nevertheless, it is a tasteful and

uncluttered answer that simply supports and complements the busy areas of

area 13 and 15.

“Sweet Peas from the garden” – painting in watercolour by Ann Fraser


Area 15This could be thought of as the main part of the garden and it was originally

named “The rose Garden” for obvious reasons – it was filled with a wide variety

of roses. To say that the area was a simple profusion of roses is something of an

understatement, as can be seen from the photograph of Head Gardener James

walker standing at the wrought iron gates leading in to this part of the garden.

James walker was awarded the royal society of Horticulture’s Bronze, silver

and Gold awards for continuous employment as gardener at Greywalls, this

being for forty, fifty and sixty years service respectively.

James Walker, head gardener

He would have been saddened when, after some ninety years as a feature rose

garden, it fell victim to rose-sickness and had to be gutted and subsequently

completely replanted. However, the bed layout was continued with, and the

opportunity was taken to select plants and shrubs that would provide constant

interest and colour from March to November. It was renamed “The Terrace

Garden”.


ros weaver employed the services of laura Mackenzie, a garden designer

and someone very familiar with Jekyll traditions. The remit was simple – “to

do what Jekyll would have done if she couldn’t plant roses”. with this, James

walker would have been pleased, and certainly today he would applaud the

result, as it is, in many respects, no less impressive.

The laura Mackenzie plans were very detailed and are carefully thought

through both for the medium and long-term effect.

“Across the Garden – Greywalls” – painting in oil by Helen Turner


“Greywalls Beckons” – painting in oil by James Harrigan

as years have passed, the plants and shrubs within this replanting exercise

have greatly matured. Today, the result is an impressive profusion of greenery

at different heights, with slithers and dashes of sometimes subtle, and at other

times bold, colour. The structure is such that plants and their colour tones lift

the eye from one area to the next – it tends to bounce the eye leading it to another

bed, and back again. Tall, whispy grasses and flower arrangements wave in the

breeze and every part of this area holds its own fascinating distinctiveness.

Climbers adorn the walls around the area including climbing hydrangeas,

clematis and even a fig tree. within the flowerbeds are arrays of herbaceous

plants – peony roses, irises, sedam, Heuchera, Acanthus (Bears Breeches),

Rudbeckia, euphorbia, poppies, tulips, Helenium, Hebe santolina, Bergenia,

Achillea, Japanese anenomies, hydrangeas, catmint, chives and honeysuckle, all

of which ensure a rich variety of constantly changing colour.


“Irises” – painting in watercolour by Ann Fraser

“Tulips” – painting in watercolour by Ann Fraser


Area 16

Moving through a wonderful archway in the surrounding north facing wall,

festooned with roses, up some stone steps, and you enter a plain grassed area

that is occasionally set out as a croquet lawn. This area is known as Martin’s

Garden, and was replanted in 2001. It is intended as a deliberate contrast to

the busyness and abundant colour of the Terrace Garden (area 15), and as such

is meant to be a simple, quiet, contemplative area – an area of remembrance

for Martin weaver, Giles weaver’s older brother who died tragically in a car

accident while in New Mexico in 1971.

along the north side of this area is a single storey structure that was added

to the house in the late 1960s to facilitate the creation of a number of bedrooms

adjoining the house. This extension has an internal corridor that is glazed floor

to ceiling for its entire length – a simple way to link in with and bring the

garden of this area into the house.

“The Archway to Martin’s Garden” – painting in oil by John Mackie


a lead water fountain with climbing plants and foliage around it provides a

constant sound that instills a sense of tranquility, as does the drooping branches

of an old eucalyptus tree, under-planted with ivy.

Opposite the arched entrance, across the lawn, are ornate metal gates that

take you to a well maintained lawn tennis court.

Area 17 and 18Tennis courts and woodland.

Area 19This whole area faces north, with the bedroom windows of the single storey

extension to the house enjoying what can only be described as magnificent

views over Muirfield Golf Course, across the river Forth to the hills of Fife and

beyond. No matter the weather, the panorama is expansive, uninterrupted, and

to the visiting hotel guest, both unique and very special.

“Playing Tennis at Greywalls” – painting in oil by Joseph Maxwell Stuart


“Facing the Sea at Greywalls” – painting in oil by Joseph Maxwell Stuart

a sunken garden, originally a feature designed to withstand the north chill

and especially the force of the sea winds, has been converted into a putting green

that now enjoys its own micro-climate. small quantities of Alchemilla mollis,

hardy geraniums and fushias are scattered around the putting green. However,

the intention is for this area to be kept green to complement and blend in with

the dominant golf course vista.

Mature Virginia Creeper climbs the walls of the house serving to soften the

hardness and coldness of the stone, and a hedge of rugosa rose sits in front of

the new wing of bedrooms, sheltering the door that each bedroom has to the

north side of the house.

This part of the garden only really shows colour for two to three months of

the year, from early July to late august, which would have been the time when

the early owners of the property would have been in residence on holiday.

a gravel path surrounds the putting green and leads to a rear entrance to the

house.

Area 20Garages and gardeners’ stores.


... and now why don’t we take the time to stroll around this place

in rhyme ...

“Tulip Bleu Amiable, Iris unguicularis, hellebore and leucojums” – painting in watercolour by Ann Fraser


Weather sunny, wind flat calm, No better place than where i am

strolling, taking in the sightA feast of simple green delight

With subtle colour, shades and tones,in shapes of squares, and balls and cones,That harmonise, and blend throughoutDistinctive walls, Greywalls , no doubt

entered through an arched old doorPass lawns that skirt and carpet floor

A silver Pear tree centerfoldsurrounding climbers, splash of bold

Pathways leading to and froBorders purple, maroon, a golden glow

High holly hedges, designed to teaseRooms of sculptures, cherry trees

A GeRTRuDe WoNDeR


A meadow then, with grasses wavingMeandering paths of lawn for pavingBantams, beehives, flowers grow wild

A Hornbeam avenue, like child beguiledWith walls around overgrown in rose

A sundial? No, a traveller’s proseof where across the globe he’s been

With distance marked and polished clean

And flanked between two irish Yewsstone oeil de boeuf encasing views

southward, fields of grain, cows and sheepTowards Lammermuirs; then spirits leap

When turning round to face the northAnd holding gaze for all its worth

There is the House, great fascinationof Lutyens build, of rich distinction


And now a glasshouse, more than oneWith vine, in shade, not too much sunWith potted plants that line the walls

And trays of seedlings when planting callsoutside are plots designed criss-cross

With veg and herbs nurtured in clocheA dovecot now with sounds within

of “coos”, and “whirrs” from flapping wing

You’ll catch your breath; i swear it’s trueWhen terrace garden next you view

With flowers, every shade and colourYour eyes now bounce, one part to another

Great abundance, profusion reignsPeonies, poppies, wispy grass that feigns

To blossom like the hydrangeasor Rudbeckia, euphorbia, Heuchera or Dahlias

All this, with backcloth house and terracePerfection, peace – sit if need of solace


And in the wall an arched doorwayWith steps that lead to where you playLawn tennis through an ornate gateYet, before that gate a croquet lawnWith subdued borders, and ivy sown

Beneath a eucalyptus treeThe sound of water falling free

A contemplative mood is here createdFor Martin, thankful thoughts are generated

And onward past where games are playedThrough woodland to where some “greats” have stayed

in rooms that face such glory viewing Muirfield, the Forth, To Paps of purely natures doing

No interruption, such expanseGives rise to awe; a golfing chance

To play these links of worldwide fame With Honourable Gentlemen, that be the name.


A sunken garden once was triedWith walls that shielded, yet plants died

so now, just hardy plants that tholl the weatherAnd putting green, “before or after dinner?”

But if it’s just a stroll that’s fanciedWalk on the ha-ha looking northward

over fairways, bunkers, greensWith rough that’s tough all in between

And as the tour comes to an endContentment comes the soul to mend

This garden by a lady, GertrudeGives journey more than interludeA haven, more than place to rest

Mind refreshed, rebuilt, absorbed with interest From shaded rooms to open views,

Vibrant colour through to muted huesThings for play, and things to ponder

Greywalls gardens – a Gertrude wonder.

RM

Greywalls - A Hidden Gem

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