This is the brand new Ceremony Hall at Crossbasket Castle, High Blantyre. The building was purpose built to act as a room to wed couples on site, meaning marriages and receptions can both take place at Crossbasket , without having to leave the grounds!
The hall is spacious and luxuriously decorated with wood panelling and traditional plastered walls, with a somewhat rustic character. The designs on the window give the building a feeling of being somewhat religious, yet is non denominational without any religious icons within the room itself. Chandeliers hang from the ceiling with huge mirrors on east and west sides of the walls.
Able to accommodate over 200 guests, the room also can act as a function suite if needs be, meaning Crossbasket Castle now has TWO function suites. Within this separate, detached building is a bar , cloakroom and toilets, so it is self contained as a venue if required.
On the interior walls are over a dozen large acrylic finished portraits all celebrating Crossbasket throughout the ages. Commissioned in April 2017 by Crossbasket Castle pwners, provided by Paula Veverka Photography, there are old photos, postcards and pictures of Crossbasket and the surrounding area from through the ages. I’m pleased to say, some of my own photos are on the walls, including mock up photoshop images like these stunning images below of how the Castle looked in the late 1700’s and early 1800’s, at a time long before photography existed! It is something I’m very proud of to be able to have translated how the castle at that time, looked before 5 or 6 later extensions.
There is a reception area with cloakroom and toilets, all decorated in the most intricate fine woodwork, with period and traditional features. Again, the Gothic Arch of Crossbasket features heavily in the design, which it most sympathetic to the rest of the Castle.
We’re sure you’ll agree this is a beautiful building and serving such a happy, worthwhile purpose, it will surely be much used and appreciated by many.
Partly from “Blantyre Explained” by Paul Veverka (c) 2017