But you are wondering what became of the Feudal Property which Athelstan Riley bought in Jersey, so as to secure a quasi-noble status. It was at a place called La Trinite. And, here again, Riley rewrote History. The House had previously been distinctly ordinary ... Riley substantially rebuilt it to look like a ... you guessed ... a traditional Norman Manor House. Indeed, it is probably the finest such 'typical' property within the ancient Duchy! So fine that, during the Occupation, the German CO occupied it and the Rileys had to remove themselves to an estate cottage. But it was important to the entire 'Project Riley'. So, in 1918, in his new Coat of Arms, Riley got the Heralds to include (on a canton) the arms used by previous families which had held the property and the seigneury (a red canton with nine golden billets).
Did I mention that Riley was not short of money? I am going to conclude by plagiarising the The Liturgical Arts Journal (March 6, 2018) to add a few words about his London Residence, Number 2 Kensington Court (by 2018, the Milestone Hotel). It was built for him (did I mention that he employed the best, most expensive people to do such work for him?) in 1895 by the Sir Thomas Jackson who also built a great deal of Oxford in the last part of the nineteenth century. It included a little Oratory by Kempe (Did I ...er ...) the altar piece of which was subsequently removed so that the little room could become part of the hotel's dining complex. Riley's daughter Morwenna Brocklebank gave it in 1950 to Cavendish Church in Suffolk, where it still languishes although no longer used as a Altar piece. (Such pre-modern fripperies can play no role in modern feminised Anglican liturgical extravaganzas such as Messy Church!)
It is a medieval Flemish carving restored by Ninian Comper, and defiantly bearing Riley's first Coat of Arms, impaled with Molesworth for his wife).