This biblical scene is called the 'Meeting of Jacob and Laban' painted 1832 by Hungarian painter, Marko.

Leonard Jacks writes in 1881: ' In the dining room, over the mantelpiece, there is a large Scriptural painting—an Old Testament subject—showing all the soft beauty of an Eastern landscape, by Marco, a Hungarian painter of considerable repute. It represents the meeting of Laban and Jacob, and it is flanked on either side by an example of Herring’s exquisite art, full of bright, transparent light and of atmospheric vitality. On the opposite wall there are some half-dozen portraits, two of them at once recognisable. These are of the much lamented and much missed public man, whose name will ever occupy a prominent place in local history, and of his son who inherited his estates, and who is the present owner of Stuffynwood and Ruddington Grange'

This painting was passed to Joseph's wife, Helen. Other paintings mentioned are:

'Castle of Argolis' passed in trust to his sister Mary Swaine for her lifetime enjoyment, thereafter absolute to his great-nephew and Godson, William Henry Paget Swaine.

A fine copy of Albertinelli 'Salutations' passed in trust to his half-sister, Caroline Mellor, for her lifetime enjoyment, thereafter absolute to his Godson, Godfrey Paget Mellor.

Portrait of Rubens to his sister, Lucy Paget

Portrait of Leonardo da Vínci to his sister, Ann Paget

Portait of Oliver Cromwell to his god-daughter, Violet Mellor, daughter of his half-sister, Ellen Mellor, who died in 1880.

Other art mentioned by Leonard Jacks but not itemised in the will are a Scottish landscape by Gilbert, a pair of paintings by Herring and a pair of water colours one of which was the Largo di Gardo, by Vandervelde. Additionally, Jacks mentions the curious furniture designed by Michael Angelo that once belonged to a Roman noble.

Charles Paget's taste in art was evidently leaning towards an Italian influence. Leonard Jacks describes the ceiling in the drawing room has ornamented with a very fine centre piece; a reproduction of one of the masterpieces of 16th century Italian painter, Guido Reni, which was imported and painted by an Italian painter. Most of the people that I have have met, who lived at Stuffynwood Hall in more modern times, have mentioned the grand ceiling!

The picture left is regarded as Renis' masterpiece and is the likely reproduction subject as described by Leonard Jacks in 1881. It is called St. Dominic's Glory painted in 1613-1615. Location: Basilica of Saint Dominic, Bologna, Italy.


Joseph Paget's extensions, completed in 1880, remained faithful to the original house built by his father in 1857 in a style known as Italian Renaissance. The centre semi-circular arches with accentuated keystones were typical of this style of architecture.


This picture of Stuffynwood Hall was most likely taken by Joseph Paget. In 1881 Leonard Jacks' tour of Stuffynwood Hall mentions Paget's interest in capturing images of local scenery by 'instantaneous process'. Also, the 1881 local press report, covering the reconstruction of St Chad's church, mentions Paget's large photographic room, which was utilised for Sunday church services during the transition period. Joseph Paget was infact an influential member of the Royal Photographic Society for reasons which I will explain later. It was probably taken around 1880 after the large tower and extensions were completed for his daughter, Elsie, who, shortly after, married Hubert Hodson at St Chad's. Elsie, her husband and daughter, Elsie Maud, whom arrived in 1881, continued to live there until the late 1880's