By the little lake, on the path along the shore, three children in wide straw hats and a cap have stopped — and all three are staring fixedly at one thing: whatever the gentleman beside them, dressed in a light suit and a panama hat, is holding between his fingers. Exactly what it is — a pocket watch, or something found along the way — the photograph doesn't quite reveal, but the children's rapt attention suggests it's well worth a look. At their feet, a spotted dog lies calmly, watching too.
In the background, beyond the hedges and a row of young trees, rises the estate's working courtyard complex — the same stables and outbuildings already familiar from the 1891 surveyor's plan (exhibit No. 3): the administrator's and manager's houses, stables, barns — a whole small "town" that served the palace. This view is a reminder that the estate was never just a park and a mansion, but also a living, working farm, visible even from its most picturesque walking paths.
In the animation the scene comes alive in colour — the lake water, the grass and the trees take on a fresh green, the children's dresses and jackets gain shades of brown and dark green — yet the moment itself stays exactly as it was: four gazes fixed on one point in the grown-up's palm, as though time had stopped precisely at the second you most want to know what it is.