THE
BARONIAL HALLS,

AND
ANCIENT PICTURESQUE EDIFICES OF ENGLAND.
FROM DRAWINGS BY
J. D. HARDING, G. CATTERMOLE, S. PROUT, W. MÜLLER, J. HOLLAND.
AND OTHER EMINENT ARTISTS.
EXECUTED IN COLOURED LITHOTINTS, BY DAY AND SON AND HANHART.
THE TEXT BY S. C. HALL, P.S.A.
EMBELLISHED WITH NUMEROUS ENGRAVINGS ON WOOD.
IN TWO VOLUMES.
VOL. I.
LONDON:
WILLIS AND SOTHERAN, 136, STRAND.
MDCCCLVIII.

CONTENTS OF VOLUME I.

Day &c. Son, Lithʳˢ to The Queen.

HOLLAND HOUSE,
MIDDLESEX.

olland House stands upon rising ground, a little to the north of the high-road which leads from Kensington to Hammersmith.[1] It is interesting to all passers-by, as affording a correct idea of the baronial mansions peculiar to the age of James I.; and, from its vicinity to the metropolis, its examination is easy to thousands who rarely obtain opportunities of viewing the “old houses,” with which are associated the records and pictures of English hospitality as it existed in the olden time. Although modern dwellings of all shapes and sizes have grown up about it, the house retains so much of its primitive character—its green meadows, sloping lanes, and umbrageous woods, in which still sings the nightingale; with gables and chimneys bearing tokens of a date two centuries back—that few traverse the highway without a word of comment, and a sensation of pleasure, that neither time nor caprice have yet operated to remove it from its place, or even to impair its imposing and impressive features. It is almost alone in its “old grandeur,” in a vicinity at one period crowded with ancient houses; the baronial halls have, with this exception, that of Campden House,[2] adjacent, and Kensington Palace, a comparatively recent structure, been removed, to make way for “detached villas” and streets of narrow dwellings; and there are many sad surmises that, ere long, the park, and gardens, and venerable mansion, will be also displaced, to supply building-ground for speculators in brick and mortar. This will be a grievous outrage on taste, and a sore mortification to the antiquary, and be another terrible inroad on the picturesque in a district which, within living memory, was as primitive in character as if London had been distant a hundred miles.

The approach to Holland House is by an avenue of venerable elms; the entrance-gates are examples of wrought iron, remarkably elegant in design and fine in execution. Within the demesne, small although it be, all sense is lost of proximity to a great city: the close foliage completely shuts out the view of surrounding houses, and the birds are singing among the branches, as if enjoying the freedom of the forest. Yet Holland House is now enclosed on all sides—north, south, east, and west—by brick houses of all sorts and sizes, upon which it seems to look down, from its elevated position, with supreme contempt for the convenient “whimsies” of modern architects.

Before we conduct the reader about the grounds and into the mansion, it will be well to give some history of the several personages through whose hands they have passed. As we have shewn in a note, the manor, during the reign of Elizabeth, became the property of Sir Walter Cope, a knight who became high in favour with her successor, James I., and who obtained, partly by grant and partly by purchase, considerable possessions in and around Kensington. By him the house, subsequently called “Holland House,” was built. His daughter, Isabella, having married Sir Henry Rich, the second son of Robert Rich, first Earl of Warwick, this Sir Robert inherited the estates in right of his wife; in 1622 he was created Baron Kensington; and in the 22d James I. was elevated to the dignity of Earl of Holland, and installed a Knight of the Garter. Having taken part with the king during the civil wars, he was tried by the Parliament, condemned to death, and beheaded on the 9th of March, 1649.[3] His lady was, however, permitted to return to Holland House, where she brought up her family, and where she was succeeded by her son, Robert, the second earl, who, in 1673, became also Earl of Warwick, by the death of Charles, the fourth earl. He was succeeded by his son, the third earl, who married Charlotte, only daughter of Sir Thomas Middleton of Chirk Castle, Denbighshire, who survived, and subsequently took for her second husband, in 1716, the renowned Joseph Addison; “but,” writes Dr. Johnson, “Holland House, although a large house, could not contain Mr. Addison, the Countess of Warwick, and one guest—Peace:” they lived on ill terms, which probably hastened the death of Addison; an event which took place in the mansion on the 17th of June, 1719.[4] Edward Henry, the fourth Earl of Holland, dying unmarried, his cousin, Edward, succeeded as fifth earl; but he dying without issue, in 1759, his honours and titles became extinct; but the family estates were inherited by William Edwardes, Esq., son of the sister of Edward, the third earl, created Baron Kensington of the kingdom of Ireland in 1776. Holland House came into the possession of the family to whom it now belongs (the family of Fox), first about the year 1762, when the Right Hon. Henry Fox, Secretary of State (soon afterwards created Lord Holland), became a tenant of the mansion, which he subsequently purchased, together with the manor, from Mr. Edwardes. Here the first Lord Holland resided until his death in 1774, and was succeeded by his son, Stephen, the second peer,[5] who died the year following, and was succeeded by his son, Richard Vassal; during whose long minority the house was let to the Earl of Roseberry and Mr. Bearcroft. On his death in 1840, he was succeeded by the present peer, Henry Edward Fox, the fourth Lord Holland.

During the lifetime of the late peer, Holland House obtained a certain degree of fame as the occasional rendezvous of the wits of the age; and the fêtes at which they were assembled furnished brilliant themes for the exercise of poetical talent; but the records of genius there fostered and encouraged are singularly few. The historian, the poet, the artist, and the man of science, became guests in the mansion when they had acquired fame, but those who were achieving greatness, and stood in need of “patronage,” were not permitted to share its enjoyments and advantages.

The grounds and gardens of Holland House have been skilfully and tastefully laid out; the trees are remarkably fine, and give a character of delicious solitude to the place, keeping away all thought of the vast city, the distant hum of which is at all times audible; and, although “prospects fresh and fair” are in a great degree shut out, imagination may easily follow the steps of Addison into this calm retreat, and quote the lines of Tickell on the poet’s death, as applicable to the present day as they were to a century back:—

“Thou hill, whose brow the antique structures grace,
Rear’d by bold chiefs of Warwick’s noble race;
Why, scene so lov’d! where’er thy bower appears,
O’er my dim eyeballs glance the sudden tears?
How sweet were once thy prospects fresh and fair,
Thy sloping walks, and unpolluted air!
How sweet the gloom beneath thy aged trees,
Thy noontide shadow, and thy evening breeze;
His image thy forsaken bowers restore,
Thy walks and airy prospects charm no more.
No more the summer in thy glooms allay’d,
Thy evening breezes and thy noon-day shade!”

The prospect, however, notwithstanding the multiplicity of houses by which the grounds are surrounded, is not all destroyed; vistas are here and there formed between the trees, which command extensive views; and garden-seats still exist, to wile the visitor into “shady places,” where the hill of Harrow and other striking objects are seen in the distance, while the surrounding shadow enhances the value of the bright scene beyond:—

“For loftie trees, y’clad with summer’s pride,
Did spread so broad, that heaven’s light did hide,
Not pierceable with power of any starre;
And all within are paths and alleies wide,
With footinge worne, and leading inward farre.”

But judgment, tastefully exercised, has made many openings among those thick woods; and those who wander among them enjoy the feelings of entire solitude—a feeling augmented if the time be evening; for, as we have intimated, although scarcely two miles distant from the heart of London, here the nightingale

“Supplies the night with mournful strains,
And melancholy music fills the plains.”

The beautiful gates which open upon the avenue that leads to the principal entrance to the mansion are pictured in the appended woodcut; they were brought from Belgium by the late Lord Holland, and placed in their present position about twelve years ago; they are of wrought iron, and are considerably impaired by time. Recently they have been repainted, and picked out with gold; and they now make a gay appearance; they are, however, of a much later date than the venerable structure, with which they would be out of “keeping,” but that they are separated from it by considerable space—a long avenue of ancient and finely grown elm-trees, which shadow the broad path that conducts to the house. The immediate entrance is between two piers of Portland stone, designed by Inigo Jones, and “executed by Nicholas Stone in 1629, for which he was paid 100l.;” they have no peculiar merit, but serve the purpose of supporting “the arms of Rich quartering Bouldry, and impaling Cope.” The pleasure-grounds are behind the house, “falling abruptly to the north-east:” they were laid out by Mr. Hamilton in 1769. Scattered in various parts are memorials to some of the personal friends of the late Lord Holland: among others, the author of “The Pleasures of Memory” is honoured by this poor couplet:—

“Here Rogers sat, and here for ever dwell
To me those pleasures that he sings so well.”

Some lines, scarcely better, have been appended by Henry Luttrell, Esq.; but the genius of the place has essayed a flight no higher than that which might grace a school-girl’s album. Nature has done more for the domain than art; from various points, fine views are obtained of the country that surrounds London; and although, of late years, they have been sadly narrowed by “endless piles of brick,” when Tickell wrote his lines on the death of Addison, no doubt they were “Fresh and Fair.”

Considerable alterations internally were made to the building by Inigo Jones. The entrance-hall, the two staircases, and the parlour leading out of the principal staircase, are the only parts of the mansion on the ground-floor that still retain their original character. On the first floor, beside the Gilt Room, is a noble long gallery, now the library, and the late Lady Holland’s drawing-room or boudoir. All these rooms preserve their ancient decorations, and are in the purest taste and the most costly style of execution.

“The Gilt Room,” which forms the subject of the appended print, is approached from the entrance-hall by a richly ornamented oak staircase. From the style of the details it would appear that it was the work of John Thorpe, and that the painted decorations were the produce of Francis (or Francesco) Cleyn, a favourite artist of the time, who was employed largely by the kings James I. and Charles I., from whom he derived an annuity of 100l., settled on him during his natural life, and which he enjoyed till the Civil War. The ceiling of the room was originally painted by him in the same style as the other portions of the apartment; being out of repair during the minority of his late lordship, it was removed, and a plain one put up in its stead. In the view here given, Mr. Richardson has supplied it from such fragments and sketches as were obtainable several years ago.

Notwithstanding the loss of its painted ceiling, the room presents an appearance of elaborate magnificence, and of unique singularity—carrying us back at once to that luxurious period, the early part of the reign of Charles I. The paintings, the figures over the fireplaces, deserve great praise, although we cannot entirely coincide with Horace Walpole, who declares (in his life of Cleyn) that they are not unworthy of Parmigiano. The paintings—such as remain over the fireplaces and soffites of the arches—certainly are masterly, though the architect might discover a little of the “contract style” about them. Cleyn was employed by Charles I., whose good taste led him to patronise only the most eminent men in art. The painter was denominated “Il famosissimo pittore Francesco Cleyn, miracolo del secolo, e molto stimato del Re Carlo della Gran Britania.”[6]

This cut represents some of Cleyn’s painting in the soffite of one of the arches in the gilt-room; it is roughly painted—although in a free and masterly style—in umber, on a white ground; the drapery, dress, and hair of the figures, are gilt.

From a drawing by C. F. Richardson, F.S.A. Day & Son, Lithʳˢ to The Queen.

THE GILT ROOM, HOLLAND HOUSE.

The decorative panelling of the Gilt Room is continued round the four sides, and in the large recess in the centre (immediately above the entrance-porch); the interior of each panel has a small raised fillet, about an eighth of an inch in thickness, forming an ornamental border: this is gilt. In the centre of the panels are painted alternately cross-crosslets and fleur-de-lis, charges in the arms of Cope and Rich; they are surmounted by an earl’s coronet, with palm or oak branches, in gold, shaded with bistre. The figures over the fireplaces have the flesh painted, the rest is gold shaded; the lower columns of the fireplaces are painted black, the upper being of Sienna marble: both have gilt ornaments at the lower part of the shaft, and their caps and bases gilt: for the rest, all the prominent mouldings, the flutes, caps, and bases of the pilasters are gilt; the cima recta of the great entablature has a painted leaf enrichment, with acorns between, the latter of which are gilt. The groundwork of the whole is white. The busts in the room were placed there by his late lordship: over the fireplaces are those of King William the Fourth, and George the Fourth when Prince Regent. Arranged on pedestals round the room are busts of the late Lord Holland, Francis Duke of Bedford, Henry first Lord Holland, the late Duke of Sussex, John Hookham Frere, the Duke of Cumberland (of Culloden), Napoleon, Henry the Fourth of France, the Right Hon. Charles James Fox, by Nollekens, a duplicate made for the Empress Catharine of Russia. In the bow-recess are models of Henry Earl of Pembroke, and Thomas Winnington, Esq. The painted shields in the corner of the room bear the arms of Rich of Warwick, and Cope and Rich. Of the ancient furniture of the

Gilt Room two chairs alone remain; these are mentioned by Horace Walpole as being the work of Francesco Cleyn: they are painted white, and partly gilt. A large bench, formed by three of these chairs placed together, with one arm only at each end, was discovered by the artist some years ago, in a lumber-place over the stable, where, probably, it still remains. The Gilt Room, during the lifetime of his late lordship, was used as the state dining-room: the state drawing-room, lined with silk, and hung with paintings, led out of it by the door on the right—seen in the print. Parallel to these rooms, at the back of the

building, is another line of drawing-rooms, modernised, but which contain a valuable collection of paintings. Among them is a celebrated one by Hogarth—the amateur performance, by children of the nobility, of “The Beggar’s Opera.” This painting is very large: the whole of the figures are portraits. Another painting by Hogarth is in the collection, which has never been engraved. It is a view of the entrance to Ranelagh Gardens, Chelsea. The collection contains a few very fine Sir Joshua’s. Among them is his portrait of Joseph Baretti, well known from the engraving. There are likewise a few first-rate pictures of the old masters. The library contains a series of portraits of political and literary friends of his late lordship; and, in the boudoir, are the series of the late J. Stothard’s most exquisite compositions to illustrate Moore’s poems. These drawings are very highly finished, and are twice the size of the engravings which were made from them.

In “Lady Holland’s Boudoir,” among other curiosities, are two candlesticks formerly belonging to Mary Queen of Scots; they are of brass, each of eleven and a half inches in height. They are of French manufacture; the sunk parts are filled up with an inlay of blue, green, and white enamel, very similar to that done at Limoge. These candlesticks are extremely elegant; one of them is represented in the above woodcut.

The accompanying woodcut represents the fireplace in “the ancient parlour;” leaving the principal staircase in the ground floor; the door on the left leads into this room. It is supposed to have been painted in a similar style to the great chamber above-stairs. The fireplace in this room is of the most excellent design and capital execution. A portion of the framing of the room is shewn by the side of the fireplace: this is likewise very elegant. One of the ancient windows of this apartment is blocked up, and an ornamental arch placed in front of it by Inigo Jones. It was in this room that plays were performed by the direction of the first Lady Holland, when the theatres in London were shut up by the Puritans: it is commonly called “The Theatre Room.”[7]

The other rooms will require but a brief notice. “The Journal Room” is so named because a complete set of the journals of the Houses of Lords and Commons are there preserved: it contains several portraits, among which are three or four by Sir Joshua Reynolds. This is on the ground-floor. Underneath the hall is the ancient kitchen, not long ago fitted up as a servants’ hall. In the north-east wing is a large apartment, formerly the chapel of the mansion: it has been disused for half a century, having been converted into a bath-room.

The Libraries are spacious and “well stocked;” the principal, which forms the west wing of the house, is styled the Long Gallery; it is, in length, one hundred and two feet, and, in breadth, seventeen feet four inches. According to Mr. Faulkner (“History of Kensington”), whose account was written under the superintendence of the late Lord Holland, in the year 1746, this fine apartment was entirely out of repair, and even “unfloored:” it was, however, at that period completely restored, and converted from its ancient use, as the gallery for exercise, into a receptacle for books, of which it contains a rare selection. The first Lord Holland had fitted it up for pictures; blocking up many of the windows, and opening in lieu of them a large bow-window on the west side. The “West Library” and the “East Library”—two rooms of moderate extent—contain also several valuable folios—curious treasures of antiquity. Mr. Faulkner enumerates some of the more remarkable of the contents of the eastern library, which cannot fail to interest the reader:—

“A curious copy of Camoens, to which the praises of Mr. De Souza, the patriotic editor of the late splendid edition of that poet, have given extraordinary celebrity. It is a copy of one of the earliest editions, and Mr. De Souza alleges that it must have been in the hands of the poet himself. At the bottom of the title-page the following curious and melancholy testimony of his unfortunate death is written in an old Spanish hand, which states that the writer saw him die in an hospital at Lisbon, without even a blanket to cover him.

“‘Que coza mas lastimosa que ver un tan grande ingenio mal logrado! yo lo bi morir en un hospital en Lisboa, sin tener una sauana con que cubrirse, despues de aver triunfado en la India oriental, y de aver navigado 5500 leguas por mar: que auiso tan grande para los que de noche y de dia se cançan estudiando sin provecho, como la arana en urdir tellas para cazar moscas!’

“Specimens of all the types in the Vatican Library, printed in the Propaganda press, A.D. 1640, on silk.

“The music of the ‘Olimpiade,’ an opera of Metastasio, well authenticated to have been transcribed by J. J. Rousseau, when that extraordinary man procured his livelihood by copies of this kind. The hand-writing is so beautiful that it resembles copper-plate engraving.

“Four volumes of MS. Plays of Lope de Vega, the first containing three plays in his own hand-writing, with the original license of the censor.

“The original copy, in MS., of the ‘Mogigata,’ a favourite play of the celebrated Moratin, the first writer of Spanish comedy now living, but who has been proscribed and exiled by Ferdinand the Seventh.

“There are several others of nearly equal interest, and among the MSS. there are many curious autographs of Philip the Second, Prince Eugene, Pontanus, Sannazarius, and others, and three original letters of Petrarch.

“Also a voluminous MS. collection of the proceedings in Cortes, from the earliest period, copied from the archives of the King of Spain. The original correspondence of Don Pedro Ronquillo, the Spanish ambassador, resident in London at the time of our Revolution; part in cypher, with the translation by the side, with several others of equal value and curiosity.”

The Long Gallery is ornamented with portraits of the Lenox, Digby, and Fox families; Dryden and Addison; Sir C. H. Williams; Admiral Lestock; Sir Robert Walpole; the Right Honourable Thomas Winnington; Cardinal Fleury, by Rigaud; and Van Lintz, by himself. Scattered throughout the apartments are King Charles II. and the Duchess of Portsmouth; Sir Stephen Fox, by Sir Peter Lely; Henry, Lord Holland; Stephen, Lord Holland, by Zoffany; the late Right Honourable C. J. Fox, when an infant;—when a boy, in a group with Lady Susan Strangeways and Lady Mary Lenox (by Sir Joshua Reynolds); and a fine picture of him in more advanced life by the same artist. There are two busts, also, of him, by Nollekens, one of which was taken not long before his death; and a statue, seated in the entrance-hall.

We may not take leave of this fine old mansion without expressing a fervent hope that the interesting work of two centuries may endure for many centuries to come; that modern improvements—although they may place the suburb of which it is the crowning gem in the centre of the Metropolis—will not displace it to make room for petty structures of a day, but that the tale of the Olden Time may be there told to our descendants as it has been there told to our ancestors.

From a drawing by J. D. Harding Day & Son, Lithʳˢ. to The Queen.

BLICKLING HALL. NORFOLK.

From a drawing by J. D. Harding Day & Son, Lithʳˢ. to The Queen.

BLICKLING HALL. NORFOLK.

BLICKLING HALL,
NORFOLK.

ourneying a dozen miles north of the city of Norwich, the Tourist reaches the old town of Aylsham. A mile hence is the very ancient manor of Blickling[8]—famous so far back as the time of the Confessor, when it was in the possession of Harold, King of England; remarkable, in after times, when occupied by the Bishops of the See, and celebrated, in the history of various epochs, as a seat of the noble families of Dagworth, Erpingham, Fastolff, Boleyne, Clere, and Hobart. From this ancient house, Henry VIII. married the unfortunate mother of Queen Elizabeth; here the virgin queen herself is said to have been a guest, and here Charles II. and his consort were visitors—events referred to by the court-poet, Stephenson:

“Blickling 2 monarchs and 2 queens has seen;
One king fetch’d thence, another brought, a queen.”

The mansion—Blickling Hall—is one of the most perfect examples remaining of the time of James I.; the exterior has undergone few changes; the bridge, the moat, the turrets, the curiously-formed gables, and the double row of spacious and convenient out-offices—connected with the mansion by an arcade—are characteristic of the period, while elaborate finish and costly ornament indicate the wealth and rank of its noble owners. The high-road passes the gates, and runs within a few yards of the house; a small green sward only separating it from the public pathway. The moat is crossed by a Bridge of remarkably light and graceful proportions; on either side of this bridge are Pedestals with bulls (the heraldic crest of the Hobarts) bearing blank shields. The entrance-porch is exceedingly beautiful; the design is simple and elegant; “it may be regarded,” according to Mr. Shaw, “as one of the earliest attempts at the restoration of classical architecture, and appears to be formed upon the model of the Arch of Titus at Rome.” In the spandrels are sculptured figures of Victory. Over the entablature, supported by two Doric columns, is an enriched compartment, bearing the arms and quarterings of Sir Henry Hobart, Bart. (by whom the stately mansion was erected). A massive Oak Door contains the date 1620; the knocker of this door is peculiarly quaint; a copy of it acts as the initial letter commencing this description. Passing a small quadrangular court, we enter the Hall, from which opens the grand Staircase of Oak, the newels of which are crowned with figures. Unhappily, the oak has been covered with paint; and time having removed some of the figures, their places have been supplied by others out of harmony with the character of the venerable structure.[9] Of the several apartments, the only one that demands particular notice is the Library—a noble room, filled with the rarest and most valuable books. It measures one hundred and twenty-seven feet; the ceiling is a magnificent collection of works of art, unsurpassed by anything of the kind in Great Britain. It consists of a series of models, representing the Senses, the Passions and the Elements, in low relief—comprising a very large number of subjects, no two of which are alike. The library is—as a private collection—extensive; the books it contains are generally “large paper copies,” and in the finest possible state. Some of its treasures are unique—here are a volume of Saxon Homilies, and a Latin MS. of the Psalter, certainly as ancient as anything we possess in the Latin tongue, and several others, with and without illuminations, of very remote dates. Here also are two copies (imperfect) of the Coverdale Bible; an uncut copy of the diminutive Sedan New Testament, and a vast assemblage of the choicest productions of the early English press. It was formed by Maittaire for Sir Richard Ellys, Bart., of Norton, in Lincolnshire, to whom he dedicated his “Anacreon,” in 1725. The curiosities of the library were shown to us by the Rev. James Bulwer, whose own family seat of Heydon is in the neighbourhood of Blickling Hall.

Mr. Harding’s print of this fine old mansion affords an accurate idea of its elegance and grandeur. Its form is quadrangular—having a square turret at each angle. Viewed from any point it is highly picturesque. The Park, which surrounds it on three sides, contains above 1000 acres. Its trees are celebrated for their exceeding beauty and prodigious growth. A remarkably fine piece of water, shaped like a crescent, adjoins the house, extending nearly a mile in length. Nature and Art have both contributed to adorn this artificial Lake; gentle acclivities rise from its sides, here and there fringed with evergreens infinitely varied, while gigantic oaks, and elms, and beeches, rising at intervals, seem the guardians of its banks.

We may sum up our account of Blickling Hall in the words of old Blomefield:—“The building is a curious brick fabric, four-square, with a turret at each corner; there are two good Courts, with a fine Library, elegant Wilderness, good Lake, Gardens, and Park; it is a pleasant, beautiful seat, worthy the observation of such as make the Norfolk Tour.”

The erection of the existing structure was commenced by Sir Henry Hobart, Bart., during the reign of James the First, but was not finished until the year 1628, when “the Domestic Chapel was consecrated.” The building, however, retained its original character, varying very little, in external appearance and internal arrangements, from the old Mansion in which Queen Anne Boleyne was born, and which had been famous for centuries.

When the Domesday Survey was made, one part of the Manor belonged to Beausoc, Bishop of Thetford (the seat of the See until 1088), the other part being in possession of the Crown. Both moieties were invested with the privileges of ancient demesne, were exempt from the hundred (of South Erpingham) and had the lete with all royalties. Having successively passed through the hands of many distinguished families, in 1431 it was the property of Sir Thomas De Erpingham, by whom it was sold to Sir John Fastolff, who, about the year 1452, sold it to Sir Geoffrey Boleyne, Knt., who was Lord Mayor of London in 1458, and who made Blickling his country-seat. From him inherited his second son, Sir William Boleyne, Knight,

who married Margaret, sister of James Butler, Earl of Ormond; dying in 1505, he was succeeded by his son, Sir Thomas Boleyne, who, the 18th of Henry VIII., was raised to the peerage by the title of Viscount Rochford, and three years afterwards was created Earl of Wiltshire. His daughter, Anne, was privately married to Henry VIII., on the 5th of January, 1533. On the 19th of May, 1536, she was beheaded; her dismal fate having been shared by her brother, Viscount Rochford; and the old Earl died in 1538—it is believed of a broken heart. Soon afterwards the estate of Blickling, having been for a short time in the family of the Cleres, was purchased by Sir Harry Hobart, Bart., “a fortunate lawyer,” who became Lord Chief Justice of the Common Pleas. He was succeeded by his son and grandson, the second and third Baronets; the fourth Baronet was created, by George II., Lord Hobart of Blickling, in 1728; and in 1746, Earl of Buckinghamshire. His son, the second Earl, died without male issue, but left four daughters, one of whom married the late Marquis of Londonderry, another William Lord Suffield, the third Lord Mount Edgcombe, and a fourth the Marquis of Lothian, whose surviving son, the fifth Marquis, died at Blickling in 1841, leaving a son, an infant, who is heir-apparent to the estate, now in the possession of his great aunt, the Dowager Lady Suffield.

The venerable Church of Blickling adjoins the mansion. It is built—in the style of nearly all the Norfolk Churches—of flint, a material that essentially impairs the solemn dignity of the structure. Many of the Brasses and Tombs are of high interest; the one of which we append an engraving (on the preceding page) is to the memory of Edward Clere. It is described by Blomefield as “a most curious Altar Tomb, placed between the Chancel and Boleyne’s Chapel. The Effigy which laid upon it is now gone; but there remain the Arms and Matches of his family, from the Conquest to the time that his son and heir, Sir Edward Clere, erected this tomb.” As a work of art, the Tomb possesses considerable excellence. The carved Armorial Bearings retain much of the original brilliancy of their colouring. Among the Brasses is one for Anne Boleyne, aunt of the unfortunate Queen, and another of Isabella Cheyne, (date 1485) remarkable as exhibiting the earliest authentic example of the necklace. An elaborately-wrought Oak Chest, of great size, strongly banded with iron, and secured by five curiously formed locks and keys, is preserved in Blickling Church; but a relic still more curious and unique is a Poor-box, of very primitive character, heart-shaped, and painted blue, the letters, “Pray remember the Pore,” being gilt. We give engravings of both these peculiar and very interesting antiquities.

BURGHLEY HOUSE,
NORTHAMPTONSHIRE.

urleigh, or Burghley House, the princely seat of the Marquis of Exeter, is one of the most magnificent mansions of its period; it has come down to us intact, and is perhaps more interesting—from its associations with the “glorious days”—than any other edifice now remaining in the kingdom. The halls are still standing where the famous Lord Treasurer entertained his Sovereign and her dazzling court; while Nonsuch, Theobalds, and Cannons have vanished—their sites are ploughed over; and Kenilworth has become a venerable antiquity, a moss-covered ruin.

In the reign of the Confessor, Burghley was let to farm by the Church of Burgh, to Alfgar, the king’s chaplain, for his life. The crown having seized it at his death, Abbot Leofric redeemed it for eight marcs of gold. In Doomsday Book it is rated at 40s. As usual in the feudal ages, it often changed hands, when treasons and rebellions were every-day occurrences. In the 9th of Edward II. Nicholas de Segrave was possessed of Burleigh, which had descended to Alice de Lisle, as part of the inheritance of John de Armenters. The successor of Nicholas de Segrave was Warine de L’Isle. He was one of the great men who, in the 14th of Edward II., took up arms against the King, under the command of Thomas Earl of Lancaster; was made prisoner with him at the battle of Barrow Bridge, and the week following executed at Pontefract. In the 1st of Edward III., Gerard de Lisle, son of the above Warine, was restored to his father’s possessions, and accompanied several times the King in his wars with Scotland and France. After undergoing many of the usual changes to which property was subjected in such uncertain times, it finally passed into possession of a family named Cecil, as we now spell it, although it appears to have enjoyed many variations of orthography in its transition. The founder of the house and family was a gentleman named William Cecil, who accompanied the Duke of Somerset to Scotland. At the battle of Musselburgh field he narrowly escaped being killed, a gentleman who out of kindness pushed him out of the level of a cannon, having his arm shattered as he withdrew it. On his return he was made Secretary of State, and in some political trouble was sent prisoner to the Tower: but no charge being brought against him he was released from his captivity, again made Secretary of State, became a Privy Councillor, and received the honour of knighthood. During the reign of Mary, he attached himself much to the fortunes of her younger sister, Elizabeth. When she ascended the throne, fresh honours were lavished on him: he became Chancellor of the University of Cambridge, Master of the Court of Wards, Baron Burleigh, Lord High Treasurer, and Knight of the Garter. He was much afflicted with gout in his latter years, and on one occasion when he was confined with an attack of it, at his house in the Strand (called Burleigh House, where a street of that name is now built), the Queen condescended to visit him. On one of these occasions, coming with a high head-dress, and the servant, as she entered the door, desiring her to stoop; she replied, “For your master’s sake I will stoop, but not for the King of Spain.” He died in 1598, having been Lord High Treasurer twenty-six years, and was buried in the parish-church of St. Martin, Stamford. A superb white alabaster monument, sixteen feet high, is raised over his tomb; his figure lies under a canopy supported by several black marble columns. It is in the style of the period, and stands under the arch of the north aisle and body of the church.

Thomas, Lord Burghley, the Lord Treasurer’s eldest son, was created Earl of Exeter in 1605; and Henry, tenth Earl of Exeter and eleventh Lord Burghley, his lineal descendant, was created Marquis of Exeter in 1801. His son, Brownlow Cecil, the second Marquis, who succeeded his father in 1804, is the present possessor of the princely mansion and estates.

The mansion we are about to notice is built on ground where there is but little undulation of surface, and stands about a mile and a half from the old town of Stamford, in Northamptonshire, separated from Lincolnshire by the river Welland, which runs through Stamford. At the northern extremity of the domain stand the park lodges: they are extremely handsome erections, and more than usually important buildings for such purposes. Although built so recently as the year 1801, by Henry the tenth Earl, they are in perfect harmony of design with the main edifice. The cost of their erection exceeded 5000l. The park is about two miles in length and a mile and a half in width. It was arranged and planted by the famous “Capability Brown,” and is well adorned with fine ash, elm, chestnut, and other trees, as well as plantations of shrubberies. A temple, grottos, and picturesque buildings for domestic or agricultural services, add to its beautiful character. It is well stocked with deer. On entering the park to proceed to the house, a noble piece of water, three quarters of a mile in length, is spanned by a handsome bridge of three arches, having the balustrades decorated with four statues of lions couchant. In the park enclosure are the remains of the ancient Roman road, called Ermine Street, from Stilton through Castor to Stamford: it is easily traceable in many parts.

On arriving opposite the mansion, the eye is bewildered at its unusual extent: its numerous turrets, and the spire of the Chapel rising above the parapets, give it the aspect of a town comprised in comparatively diminished area, rather than a single abode. The appended engraving exhibits a portion of the west front. The mansion stands in an extensive lawn. Mr. Gilpin, in his “Tour to the Highlands,” thus describes it:—“Burghley House is one of the noblest monuments of British architecture of the time of Queen Elizabeth, when the great outlines of magnificence were rudely drawn, but unimproved by taste. It is an immense pile, forming the four sides of a large court, and although decorated with a variety of fantastic ornaments, according to the fashion of the time, before Grecian architecture had introduced symmetry, proportion, and elegance into the plans of private houses, it has still an august appearance. The interior court is particularly striking: the spire of the Chapel is neither, I think, in itself an ornament, nor has it any effect, except at a distance; when it contributes to give this immense pile the consequence of a town.” Horace Walpole says, John Thorpe was the architect; and that he superintended the erection of the greater part of this stupendous building. This assertion is corroborated by the plans, still extant, in this celebrated architect’s collection of designs, now in the Soane Museum. It is built of freestone and forms a massive parallelogram, enclosing a court 110 feet long and 70 feet wide. The principal entrance is on the north side,

and offers a frontage of nearly 200 feet, pierced with three ranges of large square-headed windows, divided by stone mullions and transoms. The outline is varied by towers at the angles surmounted by turrets with cupolas; the frontage is varied by advancing bays between the towers; a pierced parapet, occasionally embellished with ornaments that mark the Elizabethan era, crowns the walls. The chimneys are constructed in the hollows of Doric columns, which are in groups, connected by a frieze and cornice of the order; as they are very numerous, and of fine proportions—rising loftily in the air—they combine with the turrets, &c. to give a great variety of forms to the superior portion of the main design. In the arched roof under the passage to the interior court, which was in the first instance intended to be the chief entrance, are escutcheons of the family arms, on one of which is inscribed “W. DOM de Burghley, 1577,” being the year when that part of the house was built. On the opposite side of the court, over the dial and under the spire, is carved the date 1585, which indicates when that part was erected; and on the present entrance, on the northern side, stands the date 1587 between the windows. The house has been much adorned by various successive possessors, and at the present time few seats, either in England or on the Continent, can vie with Burghley House.

Queen Elizabeth frequently visited her favourite minister, her Lord Treasurer, here; and on April 23, 1603, James I., on his journey from Scotland, came to Burghley: the next day, being Easter Sunday, he attended divine worship at the parish church, St. Martin’s, Stamford, when the Bishop of Lincoln preached before him.

Entering the court, the beauties of the architecture become apparent. The appended engraving represents the entrance from the courtyard. The eastern side is the most highly decorated, and its three stories adorned with the Doric, Ionic, and Corinthian orders, in super-position. Above the last are two large stone lions, supporting the arms of the family. Over an arch before the chapel is a bust of King William III.; the balustrades are enriched with a variety of sculptured vases. Four large gates from the various sides open into the court, and give entrance to the several portions of the building, which contains nearly one hundred and fifty apartments, many of them of great dimensions, all furnished suitably for their purpose, and a considerable number in gorgeous profusion of decorative ornament and splendid furniture. It is one of the few palatial mansions of a refined, gay, and brilliant period, which remain carefully preserved, and undisturbed by modern upholsterers. It is impossible to speak too highly of the elegance and splendour of the interior. The first apartment on entering is the spacious Hall: from some of the remaining features of its construction, it has been imagined that the great Lord Treasurer did not build a new house from the foundation, but that an edifice existed to which he imparted vastness by the additions he made. The dimensions of this Hall show at once that it includes a noble space, being sixty-eight feet long and thirty feet broad. It receives light from two large windows, and has a fine open-worked timber roof, springing from corbels, very similar in idea to the roofs of Westminster Hall, and the Parliament House at Edinburgh. The chimneypiece is in perfect keeping with the Baronial Hall, and is of stone, finely sculptured, bearing for its principal device in the centre the shield and supporters of the founder of the family; it is also ornamented by a number of pictures, some of which are portraits. There are statues in marble of life size, one of which, very much esteemed, represents Andromeda chained to the rock, and the Sea-monster. It was purchased in Rome, a century ago, by the fifth Earl of Exeter, for 300l. “Drakard’s Guide” attributes it to Peter Stephen Monnot; but Brydges, in his “History of Northamptonshire,” says it is by Domenico Guidi.

From the Hall, visitors pass through the Saloon, and up the ancient grand vaulted stone staircase in the north-west part of the house, to an apartment called the Chapel Room, which contains nearly fifty pictures, mostly of sacred subjects. A true description of the numerous pictures in the different rooms is sadly wanted, as we find one here called Titian’s Wife and Son, attributed to Teniers! in “Drakard’s Guide,” published at Stamford. Here also stands a model of the Holy Sepulchre at Jerusalem, curiously inlaid. The Chapel, to which the preceding serves as an ante-room, is spacious, being forty-two feet long, thirty-five feet wide, and eighteen feet high. The ceiling is panelled and studded with devices; the side-walls are wainscoted half-way up, and at intervals are placed, on pedestals, ten antique bronzed figures, of life size, each holding a lamp. Festoons of fruit and flowers, carved by Grinling Gibbons, are its principal ornaments. Many of the finest apartments in the house, such as chimneypieces, are profusely decorated with his valuable carving. A seat on the left-hand side, nearest to the altar, is pointed out as having been occupied by Queen Elizabeth when on a visit to Burghley. There are some large pictures placed on the walls of another space, which forms also a portion of the Chapel at the western end. This part, thirty-one feet long and twenty-four feet broad, is wainscoted to the ceiling, and is filled with open seats, for servants and others connected with the family to attend divine service.

The gorgeous Ball-room succeeds, fifty feet in length, twenty-eight in width, and twenty-six in height. The walls are painted with historical and other subjects by Laguerre. The candelabra, which are placed on pedestals of japan gilt about two feet high, are truly splendid. Two of them, placed by the sides of the lofty bow-window, are the figures of Negroes kneeling, and supporting the lights on their heads. The Brown Drawing-room, filled with pictures and a carved chimneypiece by Gibbons, leads to the Black Bedchamber, so called from the hangings of the bed, which are of black satin lined with yellow; the chimneypiece here is also by Gibbons. The west Dressing-room has in the window recess a toilette-table, set out with richly gilt dressing-plate. The north-west Dressing-room is hung with pictures; indeed every one of the principal rooms boasts of pictorial decoration, and among the profusion are many fine examples of ancient art. In a small apartment called the China Closet is an extensive gathering of varied specimens of antique Chinese, and Indian porcelain. Queen Elizabeth’s Bed-room is hung with tapestry, and contains an ancient state bed with hangings of green embossed velvet, on a ground of gold tissue; with chairs to correspond. The toilette-table is set out with richly chased dressing-plate. A number of other apartments in this range follow, similarly furnished and adorned. On the south side of the house there is another suite of grand apartments called the George Rooms, which were decorated in 1789, under the express direction and control of Brownlow, earl of Exeter, who selected the whole of the ornaments from publications of ancient architecture in the library at Burghley. His lordship directed the whole, without the assistance of any professional person. The rooms are wainscoted with the finest Dutch oak, of a natural colour; the ceilings are mostly painted by Verrio, in mythological subjects; carving, gilding, and tapestry, are profusely employed; the furniture is of corresponding magnificence; and pictures, sculptures, and antiquities are dispersed, to add to the general embellishment. The Dining-room contains two superb sideboards laden with massive silver-gilt plate; a silver cistern weighs 3400 ounces, and a lesser one 656 ounces: there are also coronation dishes, ewers, &c. Two apartments are Libraries; they are filled with many MSS., fine and rare books, antiquities, and an extensive collection of ancient coins.

The new State Bed-room, in the suite of George Rooms, contains a state bed, which has the reputation of being the most splendid in Europe. It stands on a base or platform, ascended by a couple of steps. A canopy, richly carved and entirely gilt, is supported at the angles by clusters of columns rising from elaborate tripods, which support the canopy or dome. The height of this construction, which resembles a temple, is twenty feet from the ground; 250 yards of striped silk coral velvet and 900 yards of white satin are employed in the hangings. The bed is a couch, which stands under the temple. The fifth George Room is called “Heaven,” from the multitude of Pagan deities with which Verrio has covered it; and the grand staircase (not the vaulted one) is usually called “Hell,” in consequence of the painted ceiling representing the poetic Tartarus.

It would be vain to attempt a minute description of all that interests the learned or accomplished visitor; a volume has already been published, which in itself is but an abridged account. Every faculty of rational enjoyment is gratified to repletion in viewing the gorgeous halls of Burghley House.

CASTLE ASHBY, NORTHAMPTONSHIRE

CASTLE ASHBY,
NORTHAMPTONSHIRE.

astle Ashby, the venerable and deeply interesting seat of the Most Noble the Marquess of Northampton, is situate about eight miles from the town of Northampton.

Much curious information exists concerning the early history of the manor; to which, however, we shall not be able to enter at any length. No mention is made of the Saxon lord of “Asebi;” but in the time of the Confessor it was rated at twenty shillings yearly: this yearly value had quadrupled at the time of the Domesday Survey, when the estate “was held by Hugh, under the countess Judith.” In the reign of Henry III., the manor was seized under a forfeiture, incurred by David de Esseby, for aiding the confederate barons against the king. After the battle of Evesham, the estates of all these barons were confiscated; but by the subsequent conciliatory policy of the sovereign, the offenders were allowed to redeem their lands by payment of five years’ value within three years. This boon led to much disputation and some violence between the de jure and de facto holders; and in the case of Esseby (Ashby), Alan la Zouch, the then holder, died of fever induced by wounds inflicted on him before the king’s justices in Westminster Hall, by Earl Warren (guardian of Isabella, grandchild of David de Esseby), who sought to recover the estates for his ward. Immediately after this outrage Earl Warren fled, but was pursued by Prince Edward, son of the king, who captured him, and it was only by much crying for mercy, and many protestations of making such reparation as he could, that he saved himself from immediate punishment.

It is not necessary to trace the various hands through which Castle Ashby passed subsequently to this period, until we arrive at the fifteenth century, when the estates became the property of the Compton family, ancestors of the present noble possessor, who only succeeded in establishing a claim by a re-purchase in 1465, after fifty years’ possession, in consequence of “rival nuncupative wills” made by previous owners. Sir William Compton, the purchaser, was the head of a family long settled at Compton Winyate, in Warwickshire, from which place the family name was derived; at the death of his father, Sir William had not attained his majority, and being in ward to Henry VII., was chosen by the king to attend his son Prince Henry, who, on subsequently ascending the throne, gave him an appointment as groom of the bed-chamber. Sir William, then Mr. Compton, soon became a favourite with the sovereign, one of whose freaks was to attend incog. a tournament got up by some of the courtiers, on which occasion he was attended by his favourite, Mr. Compton, who received a dangerous wound by an accidental collision with Sir Edward Nevill. In November 1510, the king proclaimed a tournament, “at which he with his two aids, Charles Brandon, afterwards Duke of Suffolk, and William Compton, gave an universal challenge with the spear at tilt one day, and at tourney with the sword the other.” Magnificently accoutred, the royal party entered the lists, gained great distinction, and received the prize. Afterwards, in 1511, the king granted to William Compton Esq., “his trusty serv’nte and true liegman, for the good and (acceptable) s’vyce whiche he hathe doone to his Hignesse, and durynge his lyfe entendithe to doo,” the manor of Tottenham, in Middlesex, and he was honoured, in the following year, with an armorial augmentation out of the royal arms. “Mayster Compton,” as he is called in an old MS., became Sir William in 1513, being knighted by the king after the battle of the Spurs (5 Hen. VIII.). He died in 1528, after retaining through life the confidence and regard of his wayward master, from whom he received many valuable marks of attachment. His son Peter, who was only six years of age, became the ward of Cardinal Wolsey, and afterwards of the Earl of Shrewsbury, to whose daughter he was married. He died in his minority, leaving one son, Henry Compton, who was knighted by the Earl of Leicester in 1566, and summoned to parliament by writ, as Baron Compton, in 1572 (14 Eliz.). About this time another attempt was made to wrest the estate of Ashby from the Compton family, which, however, ended in a compromise between the contending parties, each making some concessions, “for the finall endinge of all sutes and controversies.” Lord Compton was one of the Commissioners deputed to sit in judgment on Mary queen of Scots.

William, second Lord Compton, married the daughter and heiress of Sir John Spencer, alderman of London, and thus obtained a large addition to his possessions. This union would appear to have been made secretly, and without the consent of the lady’s father; it took place at the church of St. Catharine Colman, Fenchurch St., as the register shews: “18 Apr. 1599, William Lorde Compton, and Elizabeth Spencer, maryed, being thrice asked in the churche.” Lord Compton, by reason of zealous service, was regarded with great favour by James I., who made him President of the Council within the marches of Wales, to which he added the honour of Lord Lieutenant of the Principality, and the counties of Worcester, Hereford, and Salop. In 1617 he was created Earl of Northampton. He died in 1630, and was succeeded by his only son Spencer, who became one of the most distinguished men of the age. He was an accomplished linguist, and filled posts of much distinction about the person of the king; ultimately taking an active part in the great civil war, and after many brilliant feats of arms he was killed at Hopton Heth. He left six sons, all worthy of their heroic father, distinguished like him for their devotion to the royal cause.

James, the eldest son of the loyal and gallant peer, became his successor—the third Earl of Northampton. At Hopton Heath he was carried wounded from the field, immediately before his father received his death-wound: afterwards, he greatly distinguished himself in the king’s service, particularly at Lichfield. On the Restoration he headed a troop of two hundred gentlemen, “clothed in grey and blue,” at the entry of Charles II. into London; and “his loyalty was subsequently rewarded with several honourable appointments, which he held till his death, at Castle Ashby, December 15, 1681.” George, fourth Earl, died in 1727, and was succeeded by his eldest son, James, fifth earl, who was summoned to the House of Peers, by writ, in 1711. He married Elizabeth Shirley, Baroness Ferrars, of Chartley, by whom he had issue, and left Charlotte, his only surviving child, who married the first Marquess Townshend. George, the sixth earl, after enjoying his title but four years, died without issue, and was succeeded by his nephew, Charles, seventh earl, a nobleman of considerable accomplishments, who was made ambassador extraordinary to Venice in 1763. He died at Lyons, on his way home, leaving an only daughter, Elizabeth, wife of the late, and grandmother of the present, Earl of Burlington. Spencer, eighth earl, brother of the preceding, was succeeded, in 1797, by his only son, Charles, ninth earl, who was created Baron Wilmington, Earl Compton, and Marquess of Northampton in 1812. On his death, in 1828, the titles and estates devolved on his only son, Spencer Joshua Alwyne Compton, born in 1790,—the present Marquess of Northampton.

The noble marquess is not alone distinguished by high descent and lofty position; few persons of the age have more assiduously cultivated science and letters. His lordship is president of the Royal Society, and member of various other learned Institutions; and his “annual gatherings” of distinguished or accomplished men at his mansion in London, have been among the most gratifying and beneficial events of a period which recognises genius as a distinction, and gives its proper status to mind.[10]

Castle Ashby is about two miles from the White-Mill Station, on the Northampton and Peterborough Railway, from which a convenient road offers facilities to vehicles, while pedestrian visitors may shorten the distance, and enjoy extensive prospects of scenery, by taking a footpath over the hills—thus at once saving time and augmenting enjoyment. On ascending the first of these hills, he sees before him an extensive valley; on the opposite hill is placed the castle, of which, however, as yet he can obtain no glimpse, being hidden from his view by a dense mass of noble trees, which protect it from the northern winds.

From this point the church is an object of much beauty in the landscape, and being partially screened by fine trees, offers, as the visitor proceeds towards it, many pleasing and picturesque combinations. Emerging suddenly from under thick foliage, we tread upon an extended lawn, and the whole of the southern front of the mansion is at once in sight: its symmetrical regularity, its not unhappy marriage of English with Italian, its stately octangular towers, and the silvery grey of its time-bleached walls, all combine to produce a most agreeable impression. It is placed on the crest of the hill, the slope in its rear, a large tract of table land in front; at right angles with the front a most magnificent avenue of noble trees passes far into the distance, terminating on the northern side of Yardley Chase.

Mr. Robinson, in the “Vitruvius Britannicus,” relates all that is known regarding the erection of the house. “The castle, embattled by license to Bishop Langton, in the reign of Edward I., was the occasional residence of successive proprietors. Sir William de la Pole, and Margaret Peveril, his wife, in 1358, dated a feoffment of their manors of Ashley and Little Brington at “Castell Assheby;” but when acquired by the family of Grey de Ruthyn, in the fifteenth century, its proximity to their patrimonial seat at Yardley Hastings, would naturally lead to its partial and, ultimately, entire desertion. A century had scarcely elapsed before Leland thus recorded its desolate condition. “Almost in the middle way betwixt Welingborow and Northampton I passed Assheby, more than a mile off on the left hand, wher hathe bene a castle, that now is clene downe, and is made but a septum for bestes.” By a survey in 1565, it appears that George Carleton, Esq., under a lease granted by Sir William Compton for sixty-one years, held the site of the manor and farm of “Asheby David,” with all the demesne lands, “whereunto pertaineth the old ruined castle.” Camden, in his “Britannica,” says:—“From hence (Northampton) men maketh haste away by Castle Ashby, where Henry L. Compton began to build a faire sightly house.” The commencement of the present stately edifice may, therefore, be safely dated between the expiration of the lease in 1583 and the death of this nobleman in 1589. One of the requests of the rich heiress of Spencer to her lord was, to “build up Ashby House.” And the original pile may be presumed to have been completed when King James I. and his queen favoured its noble owner with a visit in 1605. The dates of 1624 on the east front and on the two turrets, must have reference to the subsequent alterations and erections by Inigo Jones.

The castle buildings occupy a huge quadrangle, with a garden court in the centre. The most important apartments are on the northern and the southern sides. The north front is of pure Elizabethan architecture, plain, but of massive design, combined with a grandeur and impressiveness not often attained with such unadorned simplicity. The principal, or southern front, is remarkable for the curious anomaly it presents in the mixture of Elizabethan with Italian architecture. Pure taste, of course, rejects such experiments, but if they be at all allowed, perhaps it would hardly be possible to find an instance in which the incongruous association is less offensive than in this front; arising, no doubt, from no attempt having been made to engraft the one style upon the other, both being kept distinct. The Italian façade was added to enclose the court, and complete the quadrangle: it was designed by Inigo Jones, and may be considered a good example of its peculiar character. In contrast with the plain, massive, Elizabethan wings, the work of Jones may, perhaps, justly be charged with something of a petite character; but, nevertheless, taking the whole together, it forms a composition by no means unpleasing. On entering the castle the visitor is ushered into the Great Hall, a room of noble dimensions, and which formerly possessed many claims to admiration, but, unfortunately, it has been modernised, and, therefore, after noting the fine pictures it contains,—chiefly old family portraits,[11]—we pass on to the Dining-Room, which also contains some choice pictures; the most striking are portraits of the present noble marquess and his lady, apparently by Hoppner, and some choice gems of the Dutch school. Hence we pass into the Billiard-Room, where, after admiring the table and a few good pictures, there is nothing to detain us, and we enter the Drawing-Room, in which is an excellent large picture of landscape, with cattle and figures, the painter of which is not known. Presently we come to the Great Staircase, which may be admired for its rich old oak, carved, according to the fashion of Elizabeth’s time, into a variety of geometrical forms, intermingled with wreaths of fruit and flowers, some parts of which argue no mean skill in the artisan. From hence we gain entrance to an ante-room, containing tapestry, said to have been presented by Queen Elizabeth; and on leaving this room we pass into the gallery of the Great Hall, whence we must pause awhile to examine a portrait of Mrs. Chute, by Reynolds, a most valuable picture of an excellent lady; the dress is white, the picture is in a light key, clear, broad, and harmonious, and of perfect execution. The next room is the Octagon, where are two life-size figures, in marble, of Mercury and the Venus de Medici, and also various other statues, of minor size and merit. King William’s Room next engages attention: it is of large dimensions, and is chiefly remarkable for its ceiling, of which we have given one of the enrichments as our initial. There are two magnificent bay-windows in this room. The Long Gallery is contained in the upper part of Inigo Jones’ façade, or screen, of which it runs the entire length—ninety-one feet. It is not remarkable for any peculiar attractions. It contains a few good pictures, one of which is of interest, “The Battle of Hopton Heath,” where, as we have seen, several members of the Compton family were distinguished. It will be at once understood that our remarks and enumeration of objects refer solely to matters of artistic or antiquarian interest; we therefore pass over much that might greatly interest general readers. On the whole, the interior does not sustain the rich promise of the exterior; the plan does not seem to have been carried out with the fulness and determination so marked in many of our Baronial Halls. The gardens do not present any remarkable features: the grounds are picturesque, and contain a large artificial lake, formed by the famous landscape gardener Brown, to whom so many of our nobility entrusted their estates for such aids as art can supply to nature. The grounds of Castle Ashby needed, however, but little of such help; they are naturally of a kind which art cannot create, nor do much to improve.

Day & Son, Lithᵗʰ. to The Queen.

KIRBY HALL, NORTHAMPTONSHIRE

KIRBY HALL,
NORTHAMPTONSHIRE.

irby Hall.—Although now deserted, this very venerable and exceedingly beautiful Mansion ranks among the finest of the kingdom.[12] For upwards of two centuries, it was the seat of “the Hattons,”—the famous Sir Christopher and his lineal descendants, the Earls of Winchelsea. It was built by Humphrey Stafford, the Sixth Earl of Northampton; the Architect was John Thorpe, and two plans of the building are preserved among his collection of sketches in the Museum bequeathed to the nation by the late Sir John Soane; one of them is thus distinguished:—“Kirby, whereof I layd the first stone, 1570.” Not long afterwards, it came into the possession of the Lord Chancellor Hatton, who obtained it from Queen Elizabeth in exchange for that of Holdenby—a superb structure erected by him, and which Camden describes as “a faire pattern of stately and magnificent building which maketh a faire glorious show,” and as “not to be matched in this land.”[13] It is more than probable that Kirby was largely added to—perhaps finished—by Sir Christopher; but that it was commenced by the unhappy family of Stafford, is evidenced by the “Boar’s head out of a Ducal Coronet,” and the name “Humfree Stafford,” to be found on several parts of the building. The front was decorated by Inigo Jones about the year 1638. The mansion is the property of the present Earl of Winchelsea, who was born there. It remains in a comparatively good state of preservation; but it is certain that in its now neglected and deserted condition, the encroachments of Time will not be withstood much longer. Its situation, like that of so many structures of the same date in England, is unfortunately low, and the difficulty of drainage (it is liable at times to be flooded) offers some excuse for removal to a more eligible site. The approach is through an avenue of finely-grown trees, extending above three quarters of a mile. The first Court-yard resembled that of Holdenby—a balustraded inclosure, with two grand archways. The external front is the work of Inigo Jones, by whom also much of the interior was considerably altered. Passing through this, the visitor enters the principal Quadrangle (which forms the subject of Mr. Richardson’s drawing). “On each side of the arched entrance are fluted Ionic pilasters, with an enriched frieze and entablature; the arched window above, opening upon a Gallery supported by consoles, has a semicircular pediment, broken in the centre, and inclosing a bracket for a bust, with the date 1638.” The window is, however, an insertion by Inigo Jones; and being of a much later date than the other parts of the front, sadly mars the effect of the architecture of old Thorpe. The third story contains the motto and date “Je. Seray 1572, Loyal.” The Garden front has a raised Terrace—now a corn-field—in which the slopes and a few ornamental seats yet remain. This front supplies one of the grandest examples of Elizabethan architecture existing in England. It was built by Thorpe, and essentially agrees with the German School of Architecture of that day—which the British Architect had evidently studied. The Garden seats, vases, &c., of which there endure only broken fragments, are in the style, and believed to be the works, of Inigo Jones. The Garden was terminated by a remarkably picturesque little bridge, ornamented with a balustrade and scroll work, now, like all other objects about the structure, or connected with it, submitted to the wanton assaults of every heedless passer-by. Modern Vandalism has, indeed, been very busy everywhere within and around this venerable Mansion;—a farmer occupies a suite of rooms, the decorations of which would excite astonishment and admiration in a London Club-house; farm-servants sleep surrounded by exquisite carvings; one room in the south side of the Quadrangle, decorated with a fine old fire-place, in which are the arms of the Lord Chancellor, served, at the time of the artist’s visit, the purpose of a dog-kennel; and an elegant Chapel, constructed by Inigo Jones, is entered with difficulty through piles of lumber and heaps of rubbish.

Our initial letter is copied from one of the Finials, which crown the pilasters and gables in the Quadrangle. They formerly held staves with moveable vanes (in metal), “turning with every winde.”

From a drawing by T. Allom Day & Son, Lith.ʳˢ. to The Queen.

WOLLATTON HALL,
NOTTINGHAMSHIRE.

ollatton Hall, the seat of the Right Hon. Digby Willoughby, the seventh Baron Middleton, is situate three miles west of Nottingham, in the centre of a finely wooded park, remarkable for a judicious combination of wood and water. It stands on a considerable elevation, and is seen from all parts of the surrounding country; of which, consequently, it commands extensive views—not only of rich and fertile valleys, but of one of the busiest and most populous of manufacturing towns. We give on this page an engraving of the north entrance to the mansion.

The mansion was erected by Sir Francis Willoughby, Knt., towards the close of the sixteenth century, as we learn from an inscription

over one of its entrances. In the old history of the county of Nottingham by Thoroton there is a descent of this family, down to the builder of the present Mansion, whose daughter Bridget married Sir Percival Willoughby, of another branch of the family. Sir Percival left five sons, the eldest of whom, Sir Francis, who died in 1665, was father of Francis Willoughby, Esq., one of the greatest virtuosi in Europe. His renowned history of birds was published in Latin after his death, in 1676. He died in 1672, leaving two sons and one daughter. The latter, Cassandra, was married to James Duke of Chandos. The eldest son died unmarried, in his twentieth year. The second son was created a peer in the tenth of Queen Anne, A.D. 1711. In 1781, on the death of Thomas Lord Middleton without issue, the estate and its honours descended to Henry Willoughby, Esq., of Birdfall, county of York. It is a remarkable circumstance, that up to the present time the heir-at-law, in consequence of there being no proximate issue, has always been a remote member of the family.

The exterior of the mansion is peculiarly grand and imposing. It is in the fashion of Queen Elizabeth’s reign,—or rather the fashion just then beginning to be introduced,—and is in the Italian style, but of Gothic arrangement. It is square, with four large towers adorned with pinnacles; and in the centre the body of the house rises higher, with projecting coped turrets at the corners. The front and sides are adorned with square projecting Ionic pilasters; the square stone pillars are without tracery; and “the too great uniformity of the whole is broken by oblong niches, circular ones filled

with busts of philosophers, &c., and some very rich mouldings;” “In the richness of its ornaments it is surpassed by no Mansion in the kingdom.” The accompanying engraving represents the Terrace and south entrance to the mansion.

The Hall is lofty, and the roof, which is supported by arches somewhat like Westminster Hall, has a very noble appearance. The screen in the Hall is supported by pillars of the Doric order: there is a variety of quaint devices under the beams, in conformity with the taste of the time; such as heads of satyrs, chimeras, &c. &c. The walls and ceilings were painted by Laguerre. The rooms in general are on a grand scale, lofty and spacious. The fabric, taken as one built by a commoner, exceeds the loftiest ideas of magnificence. It is wholly of stone, and must have cost an immense sum in its erection. Indeed the learned Camden, in the first edition of his “Britannia,” pays to the builder a somewhat equivocal compliment, asserting that by the time it was finished he had sunk in its erection “three lordships;” “this Sir Francis,” he adds, “at great expence, in a foolish display of his wealth, built a magnificent and most elegant house with a fine prospect.”

BENTHALL HALL, SHROPSHIRE.

BENTHALL HALL,
SHROPSHIRE.

enthall Manor,[14] Shropshire, is in that part of Wenlock hundred which was comprised in the Saxon hundred of Patintune; a division which became obsolete soon after the compilation of Domesday Book. Though in the present day Benthall constitutes a parish in itself, it was included in that of Wenlock till the latter end of the seventeenth century. In the reign of Edward the Confessor—and, probably, from a much earlier period—this estate belonged to the priory of Wenlock; and when William, the successor of that pious king, distributed lands among his Norman followers, at the expense of the Saxon nobles, he had too much regard for his reputation to deprive the Church of her possessions. Reconciling, however, his piety to worldly policy, King William made the priory of Wenlock subservient to the abbey of Rheims, and thus contrived to reward the latter establishment for successful prayers made in favour of his expedition, and at the same time to raise a Norman influence over possessions of the English Church. The abbots of Rheims, like modern non-resident landlords, had cause to regret their absence; for we find that in the reign of Richard I. the Prior of Wenlock dealt with his lands as if the Norman abbot had no concern with them: and when, at length, in the reign of Edward III., the Abbot of Rheims obtained the king’s charter, confirming to him and his successors all the English lands which belonged to his abbey, the interposition of the sovereign was ineffectual as far as it related to Benthall, that estate having been in the meantime irrevocably disposed of.

In a series of charters possessed by the Benthall family, some of which are written in the Saxon language, though without date, it appears that the manor was owned many years by a family who took their surname from this estate, and these are referred to in the hundred-rolls of the reign of King Henry III., as having been the ancestors of Phillip de Benethall, then Lord of Benethall, who held certain lands under the Prior of Wenlock. Early in the following reign, however, on Phillip’s forfeiting his lands, Benthall was re-granted to Robert Burnell, Bishop of Bath and Wells and Lord Chancellor, whose annexation of this and numerous other estates to his neighbouring castle of Acton Burnell is not free from suspicion. The chancellor’s object seems, however, to have been the preferment of his family, and, perhaps, an addition to his local influence, rather than an increase to his own revenue, for no sooner had he acquired the manor than he subgranted it to his kinsman, John Burnell, who describes himself Lord of Benethall, and appears to have resided here many years; but on his succeeding his son Henry, as Abbot of Buildwas, his eldest son, Phillip Burnell, received possession of his father’s lands, and, dropping the patronymic of Burnell, assumed the surname of De Benethall.[15] Several acts of liberality on the part of this Phillip towards the fraternity at Buildwas are recorded to his credit; and his father appears to have been a considerable benefactor of the abbey. The descendants of this Phillip de Benethall, and his wife Maude, daughter of Nicholas Forrer, of Lynley, continued to hold the lordship of Benthall, with other lands, upon conditions of feudal service to the elder branch of the Burnell family, namely, the descendants of Sir Hugh, the eldest brother of the chancellor; among whom are included the Handloes and the Lovells, descended from Maud, sister and heiress of Edward Lord Burnell, the grandson of Sir Hugh, until Francis Viscount Lovell, Lord Chamberlain of the Household and Chief Butler of King Richard III., having fought for his sovereign at Bosworth Field, his estates were forfeited to the Lancastrian king, Henry VII.[16]

On the loss of the battle, with which King Richard lost his life as well as his ill-gotten crown, Lord Lovell escaped to Saint John’s Abbey at Colchester, and afterwards to Flanders, where Margaret, duchess of Burgundy, sister to the late King Edward IV., supplied an army of two thousand men; with which, and associated with John de la Pole, Earl of Lincoln, he invaded England, and was killed at the battle of Newark-upon-Trent, in the third year of King Henry VII. Robert Benthall, the seventh in descent from Phillip Burnell, was owner of the estate at this time, and continued to enjoy it, notwithstanding Lord Lovell’s forfeiture.[17] From this circumstance there can be no doubt that Robert had proved himself of Lancastrian politics; and it is probable that he was one of the party of eight hundred gentlemen and others of Shropshire who were collected by his cousin, Sir Richard Corbet, and accompanied the Earl of Richmond from Shrewsbury to Bosworth.

From this period the family of De Benethall, or Benthall, held the manor immediately under the crown,[18] till the death of Richard Benthall, Esq.,[19] in 1720, who, by his will, gave this estate, together with other lands, to his affianced cousin, Elizabeth, daughter of Ralph Browne, Esq., of Caughley, who was high-sheriff of the county anno 1567, by Catherine, the daughter and sole heiress of Edward Benthall. By the will of Ann, widow of Ralph Browne, Esq. (who was a son of the before-mentioned Ralph), the manor of Benthall was entailed, in the year 1768, on Lucia, the only daughter and heiress of Francis Turner Blythe, Esq., afterwards the wife of the Rev. Edward Harries, Rector of Hanwood, and Vicar of Cleobury Mortimer, from whose eldest son, Thomas Harries, Esq., of Cructon Hall, the estate has been recently purchased by John George Weld, second Lord Forester.

About twelve miles from Shrewsbury, and three from Wenlock, lies Benthall Hall, built by William Benthall, Esq.,[20] A.D. 1535, on the site of a former house, which, as well as the adjacent manor chapel, is mentioned in the reign of Henry III.,[21] as being then the property of Phillip de Benethall; the chapel, however, which was of early English architecture, remained until A.D. 1666, when it was destroyed by fire, and in its place the modern chapel, now the parish church of Benthall, was erected.

The situation of Benthall has at all times enabled its proprietor to exercise considerable influence over elections in the borough of Wenlock, the franchise of which extends over the whole of this manor; but few of the preceding residents at the Hall have aspired to the office of bailiff, the chief magistrate of this borough—an office which, nevertheless, is of importance, since the liberties of Wenlock are more extensive, it is said, than those of any other borough in England. There is, however, in the Bodleian Library, a curious manuscript account of the honourable reception which Edward Sprott, deputy to Richard Benthall, of Benthall, the bailiff, and Richard Lawley, gave, on the 16th July, 1554, to the Lord President of the Marches of Wales, on his visiting Wenlock with Justice Townsend. Mr. Sprott was a member of an ancient family, who long held a considerable property, called “The Marsh,” in the borough of Wenlock. Richard Lawley was a son of Mr. Thomas Lawley, who had purchased the then lately dissolved priory of Wenlock, and had converted it to a residence for himself. He was the ancestor of the present (anno 1847) Lord Wenlock and Sir Francis Lawley, Bart., to the latter of whom the extensive property of the Lawley family in this neighbourhood now belongs. Richard Benthall was eldest son and heir of William, who has been before noticed. He married Jane, daughter of Lawrence Ludlow, Esq., of the Morehouse in this county.

The Hall stands on one of a chain of wooded hills called Benthall Edge, which rises from a sheet of water in front of the house to a point at some distance in its rear. In this direction the table of the hill is terminated by a precipitous wood, which skirts the river Severn, and, at the left, commands a distant view of mountains in Montgomeryshire, while the Severn is seen winding its course through the vale of Shropshire. In the foreground the river passes beneath the Wrekin hill, and washes the ruined walls of Buildwas Abbey. These objects are presented from a natural terrace raised some hundred feet above the Severn, which here, pent in by opposing hills, glides rapidly towards Bridgnorth.

The oak carving in the hall, dining-room, and drawing-room of the manor-house, were executed by order of John Benthall, Esq. (a grandson of William), about A.D. 1618, and the arms of Cassey were impaled with those of Benthall in the ornamental panels, as a compliment to that family, upon the recent marriage of Lawrence, the heir of Benthall, with the daughter of Thomas Cassey, Esq.,[22] of Whitefield and Cassey Compton, in Gloucestershire.

During the Parliamentary wars, Lawrence impoverished himself by his zeal in support of King Charles; he was one of a list of thirty-two principal gentlemen of Shropshire (headed by the sheriff) who, in November 1642, entered into a mutual undertaking to raise a troop of dragoons for his Majesty’s service; a step deemed necessary in consequence of the additional strength which the Parliamentary party had acquired in the county, by Colonel Mitton’s capture of Wem, in the preceding month of August; but the cause of the Royalists sustained a far severer blow eighteen months afterwards in the loss of Shrewsbury, which borough, after having voluntarily expended nearly all its resources in aid of the king, was surprised in the night of 21st February, 1645, through the treachery of one of its inhabitants. After an ineffectual defence, the town was carried by the rebels, and among the prisoners whom they took on that occasion, was Ensign Cassey Benthall, the eldest son of Lawrence. The young officer was fortunate enough, however, to make his escape, and, pursuing his loyal course, had attained the rank of colonel, when he was killed, fighting for Charles I., at Stow-in-the-Wold, in Gloucestershire. Colonel Benthall had enlisted in his regiment many of the yeomen in the neighbourhood of his father’s estate, and among those who were killed at Stow was Thomas Penderel, a brother of the famous Richard Penderel, who was the attendant and guide of Charles II. in his wanderings after the battle of Worcester. The loyalty of Lawrence Benthall was well known to Richard Penderel, and nearly procured for the former the honour of aiding the king to escape; for the royal fugitive, having been conducted by Richard to the town of Madeley, would have crossed the Severn by the Benthall ferry, but his intention had been anticipated by the Parliamentary soldiers, who had taken possession of the boat. Charles, therefore, remained concealed at Madeley, in a barn of Mr. Woolf, a worthy loyalist, who entertained him there a night and a day; and from thence the unfortunate king retreated to Boscobel wood, where he had the well-known adventure which has made the oak-leaf sacred to his memory.

Many were the damages sustained by the houses of the gentlemen of Shropshire at this troublesome period, through wanton acts of violence; but Benthall Hall remained in tolerably perfect preservation till A.D. 1818, when it was partly destroyed by fire, from which, however, the principal rooms escaped without injury.

The exterior of the mansion, though it would be commonly denominated Elizabethan, affords an example of the domestic architecture which was antecedent to the pure Elizabethan style. The landscape view of the front presented to the reader is taken from the avenue, which has been unfortunately deprived of its most stately trees by its present noble proprietor. The building is of stone; the extent of frontage being relieved by a slight projection on the left, and by two tiers of bay-windows, which are placed at equal distances on either side of a porch. All the windows have stone compartments and lozenge-panes. The roof is gabled without finials, and the chimneys, which are tastefully placed, are lofty, with ornamented shafts and mouldings. The porch stands somewhat out of the centre of the frontage, so as agreeably to subdue the regularity of the building, and surmounted by a windowed room, harmonises with the other projections. The front entrance is a round arched door, on the left of the porch.

The rooms in the interior are lofty. The entrance-hall has unfortunately lost all its wainscoting, except some carved oak over the chimneypiece, which represents the Benthall

coat of arms with that of Cassey impaled. On the right is the ancient with-drawing-room, completely wainscoted, and containing an oak chimneypiece, which is executed in the diminutive Grecian style essential to Elizabethan architecture. The uppermost tier of columns, which have Ionic capitals, enclose the Benthall coat of arms with that of Cassey impaled, and immediately beneath it is the coat of Harries, enclosed by a tier of Roman Doric columns. This room has an elegant bay-window, and a decorated ceiling; further on the right is a spacious, but modern dining-room, built by Francis Blythe Harries, Esq. of Broseley Hall, who resided here many years. On the left of the entrance-hall is the principal staircase-lobby, forming a passage to the ancient dining-room. This room is fully and richly wainscoted, and has a handsome oak chimneypiece extending to a decorated ceiling, and exhibiting on its panels the Benthall and Cassey coats of arms. The staircase is also of oak, and elaborately worked, in the angle of which a panel tastefully, though somewhat fantastically carved, represents a leopard, the crest of Benthall.

From a drawing by F W Hulme. Day & Son. Lithʳˢ to The Queen

PITCHFORD HALL, SHROPSHIRE

PITCHFORD HALL,
SHROPSHIRE.

itchford Hall. This very curious and interesting example of the half-timbered houses of the time of Henry VIII. is situate in the hundred of Condover, and about six miles south of Shrewsbury. Its position is singularly felicitous, being placed in one of the pleasantest and most fertile parts of that most beautiful county, Shropshire. From Shrewsbury it is approached by a sort of “cross-country” road, passing through rich tracts of corn-growing land, up and down, in and out; and the first view of its chequered walls and clustered chimneys is gained from a distance of about half a mile, looking up the well-wooded slopes of a rich valley of pasture land. The road traverses one side of the vale; the Hall occupies a commanding position on the other, presenting to the tourist new combinations of beautiful scenery at almost every step he advances, all marked by a happy unity of impression. No railway comes near it, to break its quiet with the din and clatter of the too-busy world.

The best general view of the house is from the public road, seen from a point nearly opposite the principal front: at a distance, the somewhat harsh contrast of the vivid interlacings of black and white is toned down into harmony with the general effect, still leaving point enough to give value to the full, rich masses of wood, by which three of its sides are encompassed. The house is highly picturesque; the walls seem to be composed, for the most part, of strongly framed timber, raised on a substructure of stone and brick. The whole is in a surprising state of preservation for its age, and seems to have suffered but little from the progress of time, or the assaults of “improvers.” In front of the Hall a small stream of water flows, passing under a bridge, on one side of which it has been raised by means of a weir. This serves a double purpose—it gives the upper part of the stream a broad river-like appearance, and at the same time is an admirable defence to the extensive gardens, which skirt its banks for a considerable distance. The interior contains nothing peculiarly remarkable; it has some good rooms, wanting in height, however, as is almost invariably the case in houses of this description.

Pitchford is said to have derived its name from “a bituminous well, one of the greatest natural curiosities of the county, on the surface of which constantly floats a sort of liquid bitumen, in nature resembling that which floats on the Lake Asphaltites in Palestine.”[23]

The earliest possessors of Pitchford of whom we find mention, were a family who derived their name from the place; of whom one Ralph de Pitchford, says Camden, “behaved himself so valiantly at the siege of Bridgnorth, that King Henry I. gave him Little Brug near it, to hold by the service of finding dry wood for the Great Chamber of the castle of Brug, or Bruggnorth, against the coming of his sovereign lord the king.”

The Hall is now the property and residence of the Earl of Liverpool, to whom it was devised in 1806 by Mr. Oteley, in whose family the estate had been for nearly four centuries. William Ottley Esq., as the name was then spelt, was high-sheriff for the county of Salop in the 15th of Henry VII., and again in the 5th of Henry VIII., in whose reign the present Hall is supposed to have been built. Robert Ottley is mentioned as the lord of the manor in the time of Queen Elizabeth. During the Civil War, members of this family gained much distinction as active and zealous, but not always successful, adherents of the royal party. “Sir Francis Ottley was successively governor of the towns of Shrewsbury and Bridgnorth; the latter he surrendered, after a siege in 1646, to the Parliamentary forces.” In the articles of capitulation, still existing at Pitchford, it is stipulated, that “Sir Francis Ottley be permitted to retire with his family and baggage to his home at Pitchford, or at the Hay,” another possession of the family.

Close to the Hall, screened on all sides by thick plantations, is the church, a plain, neat, “respectable” structure, of great age. It contains some interesting monuments of various members of the Ottley family, and also “a fine and curious oaken figure of a Knight Templar, a Baron de Pitchford, a crusader, who was buried here.”

In October, 1832, Pitchford Hall was visited by her Majesty the Queen (then Princess Victoria) and her august mother, the Duchess of Kent; “on which occasion,” says the loyal and zealous county historian, “it was the scene of genuine Shropshire hospitality and festivity.”

From a sketch by C J Richardson Day & Son, Lithʳˢ to The Queen

THE GREAT CHAMBER MONTACUTE

MONTACUTE,
SOMERSETSHIRE.

ontacute. The village of Montacute is one of the most primitive and picturesque of the villages of England. It consists of a large Square, a Market-place, with its simple and beautiful School-house, an erection which dates so far back as the time of Henry the Seventh,—a very rare and fine example in a remarkably good state of preservation, which formerly stood against a quaint old Market-house, now destroyed. The principal street consists of stone hovels, built in a rude style, but still retaining proofs that the comforts of the inmates were duly weighed and considered. The village and its vicinity are flourishing, in consequence of the ample employment which the women obtain at glove-making, at which they are nearly all occupied in their own cottages. It is situated within four miles west of the town of Yeovil, and about the same distance south of Ilchester.

Montacute derives its name from a conical hill (mons acutus) which overlooks the

village, and on which is a round tower, commanding an extensive view of the Vale of Somerset, and the British Channel.[24] The prospect thence is, indeed, not only extensive but exceedingly magnificent; including “the hills below Minehead and Blackdown, Taunton, Quantock Hills, Bridgewater Bay, and the coast of Wales; Brent Knoll, the whole range of Mendip, with the city of Wells and Glastonbury Torr; Cheech and Knowl Hills, Alfred’s Tower, and the high lands about Shaftesbury; also the Dorsetshire Hills, and Lambert’s Castle near Lyme.” At the foot, is the site of a Priory of black Cluniac monks, suppressed in the time of Henry the Eighth, of which only the Gatehouse endures; it is here pictured from a drawing by Mr. Richardson. It is somewhat extensive, and contains one room, little injured by time, with a good oak ceiling of peculiarly bold character.

Montacute House, and the estates adjoining, have been for several centuries the property of the family of Phelips; who originally “came over” with the Conqueror, and in consideration of military services were requited with large grants of lands in Wales, where they were long settled. In the fourteenth century they “migrated” into Somersetshire, residing for many years at Barrington, not far from the present seat. The “spacious and noble building” was commenced in 1550, and finished in 1601, for Sir Edward Phelips, Knight, Queen’s Serjeant, the third son of Sir Thomas Phelips. Its cost is said to have exceeded the sum of £19,500. It has since continued in the family of the founder, in the following line of succession. Sir Edward Phelips, Master of the Rolls, Chancellor to Henry Prince of Wales, and Speaker of the House of Commons, in the reigns of Elizabeth and James the First; Sir Robert Phelips, his son, in the reigns of James the First and Charles the First; Colonel Edward Phelips, during the Commonwealth, and in the reign of Charles the Second;[25] Sir Edward Phelips, Knight, in the reigns of James the Second and William the Third; his nephew, Edward Phelips, Esq., in the reigns of Anne and George the First; Edward Phelips, Esq., in that of George the Second; William Phelips, Esq., in that of George the Third; and John Phelips, Esq., in that of George the Fourth; the present possessor is a minor. But, unhappily, the Mansion, so long the scene of comparatively uninterrupted hospitality, has been, of late years, deserted; stripped in a great degree of its internal decorations; and left to the mercy of time. It presents, however, one of the finest and most interesting examples of the architecture of the period, yet existing in the kingdom; “combining simplicity of design with richness of ornament,”—“a magnificent specimen of the style of Elizabeth’s reign.”

The form of the building is that of the Roman letter E; a form which the founder is said to have adopted in compliment to his Royal mistress. It is built entirely of brown stone, found on the Estate. “The length of the Eastern or principal front,” according to Mr. Shaw, (“Elizabethan Architecture,”) is one hundred and seventy feet; it is three stories in height, and is surmounted by gables and a parapet, crowned with pinnacles. Each story is marked by its entablature; the bays of its numerous windows are divided by stone mullions; and between each window of the uppermost story are recessed niches, containing a series of statues, the size of life, in Roman armour, resting on their shields.” The wings, twenty-eight feet in width, are crowned by ornamental gables; the space between them being occupied by a terrace ascended by a flight of seven steps. The Western Front—we learn from the same source—was greatly improved, in 1760, by the acquisition of an ancient screen, removed from Clifton House, near Yeovil; “it is placed between the wings in front of the original edifice; surmounted by finials, crowned with grotesque figures rising from turrets connected by a pierced parapet.” The Court, upon the Eastern front, is “a fine and appropriate accessory” to this stately Mansion. It contains two picturesque square Pavilions, or Lodges, at the angles facing the building. The sides are formed by an open balustrade, having a small circular temple in the centre of each; these latter are twenty-five feet in height, from the level of the Court. The whole composition exhibits great beauty.

Over the arched entrances in the centre compartment are the arms of the family—argent, a chevron between three roses, gules, seeded or, barbel vert, with lions rampant as supporters. Over the principal door of the building is the following couplet, indicative of the hospitality of its high-born owners:—

Through this wide opening gate,
None come too early, none return too late.

This, however, is not the only inscription to convey their sense of duty to their guests. Over the North Porch is the following:—

And yours my friend.

And on one of the lodges,

Welcome the coming
Speed the parting guest.

The interior is divided into suites of handsome and spacious apartments. The staircase is of the construction usual in the time of Elizabeth—stone steps round a

huge solid mass of stone. In the Hall, is a fine stone screen; and, at the end, a bas-relief, four feet six inches in height, representing the ancient custom of “skimmitting or stang-riding.”[26] The Hall contains also a curious old chest—the work, probably, of some Italian or French artist of the time of Henry the Eighth. The Rooms are generally panelled with oak; but the ceilings throughout, and the staircase, are quite plain; the walls of the principal apartments are, however, lined with finely-carved wainscotting to within a few feet of the ceiling—the intervening space being ornamented by rich plaster-work, which has a fine effect. The screen, which Mr. Richardson has pictured in the appended print, belonged originally

to the entrance to the Dining-room, and was removed to its present position by one of the later proprietors of the Mansion.[27]

Although the Mansion at Montacute supplies us with many subjects for illustration by the pencil, we have preferred to introduce a copy of the graceful and venerable School-house—one of the most striking and interesting remains of a remote period, and one with which no other than agreeable memories can be associated. The initial letter is part of the sculpture of the western front.

Unhappily, the Destroyer is busily at work about this fine old Mansion—one of the grandest, most original, and most auspiciously situated of the few unimpaired structures of the reign of Queen Elizabeth by which the kingdom is still enriched. Although its present possessor is the direct descendant of its founder, and “the line” has been unbroken for nearly three centuries, it is now deserted. All its glories are of ancient dates: the “wide opening gate” gives admission to no gay revellers; and the yet existing motto seems a solemn mockery—

Welcome the coming
Speed the parting guest.

From a sketch by J. L. P. Day & Son, Lith.ʳˢ to The Queen

CAVERSWALL CASTLE, STAFFORDSHIRE.

CAVERSWALL CASTLE,
STAFFORDSHIRE.

averswall Castle.—The pretty and secluded village of Caverswall is seated in the centre of a rich level vale, through which runs the river Blithe,—here, not far from its source, a narrow stream, which gradually swells into size and strength. The venerable Castle of Caverswall, one of the most striking, picturesque, and interesting remains of a distant age, towers above this pleasant and appropriately named streamlet, overlooking the broad valley, the whole of which it completely commands, and of which it was formerly the guardian and the glory.

In the twentieth year of William the Conqueror, Caverswall was held of Robert de Stadford by Ernulfus de Hesding; but in the time of Richard Cœur de Lion, one Thomas de Careswell was lord of this demesne, from whom it descended to Sir William de Caverswell, Knight, most likely the same who was sheriff of Staffordshire towards the close of the reign of Henry III., and whose descendant, probably grandson, of the same name and title, in the latter end of the reign of King Edward II., built

a large and strong stone castle here, surrounded by a deep moat. As additional security, when safety was worth a costly purchase, we are told he gave it the further defence of square turrets at the heads of extensive pieces of water. This is “the castel or prati-pile of Caverwell” of Leland’s time. Of its founder, we know nothing more than is revealed to us by his marble monumental slab, now reduced to the level of the church-floor at the entrance into the chancel—strange transition!—to be trodden on by every foot that passes. This “goodly castle,” as Erdeswick terms it, in his time, about two hundred and fifty years ago, he tells us, “was lately in reasonable good repair, but is now quite let to decay by one Browne, farmer of the demesnes, which he procured (if a man might guess at the cause) lest his lord should take a conceit to live there, and thereby take the demesnes from him.” Now, it is probable no remnant of this ancient Castle is extant, unless in the chiselled stones which give support to garden-hedges about the village. Still, the lower portions of the wall which surrounds the platform of the Castle, with its graduated buttresses, and perhaps also the foundations of some of the turrets, give indications of an architecture at least much anterior to the present building. We are inclined to refer this ancient wall to the period of the original Castle.

The lordship descended from the Caverswells, who enjoyed it until the nineteenth of Edward III., when by the heir-general it passed to the Montgomerys, and subsequently to the Giffards, the Ports, the family of Hastings, Earls of Huntingdon, who were owners of it in the seventeenth century; and, by purchase, to Matthew Cradock, Esq., whose father, we are told in a celebrated letter of Sir Simon Degge’s, was a wool-buyer at Stafford. In the reign of James I., this latter proprietor, it is said, employed the skill of the celebrated Inigo Jones to erect the present castellated mansion. The site of this solemn fortress-like structure, enriched by the dark-grey tints of age, is the rock which gave foundation to Sir William de Caverswell’s Castle. The grit-stone of which it is built has been excavated from the moat that surrounds the whole; the same being the case no doubt with the materials of the earlier building, for the circumstance, as we shall see, is alluded to in the Latin lines on the founder’s tomb. The Castle is placed upon an elevated quadrangular platform, which is defended by a curtain running along each side, having a number of graduated buttresses rising from the moat, and by an octagonal turret, with its base dipping in the fosse, at each angle. The pointed arched gateway, approached by a stone bridge, is flanked by an additional turret on each side, like the others, balustraded at the top. This balustrade formerly was carried round the top of the Castle also. Its removal in recent times has been injurious to picturesque effect; hence the artist has retained this proper mark of style in our lithotint. The quadrangle of the Castle is laid out in gravelled walks, shaded by fine hedges of hornbeam, and a beautiful flower-garden, exhibiting many of the gems of Flora’s chaplet, and some remarkably fine specimens of Cotoneaster trained along the walls. The building itself is chiefly interesting as presenting the ideal of the great architect of the transition from the ancient castle to the baronial mansion. The keep may be said to be still retained in the lofty square tower, which overtops the building at its western end. Two great bays ascend, one on each side, to the top of the building, which break the plainness of the front, and afford additional light to the apartments. The numerous windows are all large, divided by deep mullions; and in a winter’s evening, when most of the rooms are occupied, a distant spectator might conceive there was an illumination in the Castle. The rooms are plain, and afford nothing worthy of particular note. The square tower is chiefly occupied by staircases. The turrets have been converted into apartments of residence. Whilst around the whole, flow the dark yet clear waters of the moat, which expands on the western side into a small lake. This moat is supplied by a number of springs and a limpid rill that runs into it. Its outer margin receives the shade of some fine limes. As if in pointed contrast to all this panoply of defence, on the inner margin of the fosse there is seen a pretty little flower-border, occupying the recesses between the buttresses which support the platform.

We have here an indication of the peaceful, unwarlike purpose to which this sombre fortress is now devoted. On the decease of Matthew Cradock, Esq., who built the present Castle, it came into the hands of his son, George Cradock, Esq., who died in 1643,[28] with whose descendants it remained only till 1655. From them it passed to Sir William Jolliffe, Knight; and from him, by marriage with his daughter, to William Viscount Vane, of Ireland. It subsequently passed into the hands of the family of Parker, one worthy descendant of which house, Thomas Hawe Parker, Esq., resides at Park Hall, near the village, and still retains the manor. During the disastrous wars of the French Revolution, it was purchased for the retreat of a religious community from Ghent, in Belgium,—the Benedictine Dames,—who emigrated hither in 1811, having previously settled at Preston, in Lancashire. These ladies, in their antique black dresses and hoods, as they traverse the terraces on the platform of the Castle, or engage in the cultivation of their flower-gardens, give an air of surprising interest, of living reality, to this castellated mansion of other ages. They have erected a good-sized chapel on the eastern side of the house, in which is a large picture over the altar representing St. Benedict and St. Scholastica praying to the virgin; and they devote much of their time to the purposes of education. On the opposite side of the moat, amidst the shade of surrounding trees, we perceive the final resting-place of the sisterhood. In this neat little plot is a number of tombstones, two of which are distinguished from the rest by bearing the cross and pastoral staff—emblems of ghostly superintendence. They mark the graves of Lady Abbesses. One lay sister, now rapidly descending the vale of years, is the only religieuse who came over with the original refugees.

A doorway, now closed, formerly led from the Castle to the Church, which is close by. It is a spacious village church, dedicated to St. Peter, embosomed in a grove of

sycamores, and presenting, like many others, indications of great antiquity—indications which are almost overgrown with the additions and reconstructions of nearly every period since its foundation. The piers of the nave, which give support to a series of semicircular arches, from their plainness most probably belong to the Norman style. The decorated finds its representatives in the belfry arch, and the two aisles of the nave; whilst the perpendicular is fairly displayed in the handsome eastern window of the tower. This tower and the aisles may be referred to the fourteenth century. The beauties and harmonies of the whole have been sadly marred, especially by the low flat ceilings, which extend from the tower to the chancel, in different stages of degradation. The nave contains some plain low oaken stalls, very ancient. Some pews also and the pulpit exhibit specimens of carving in oak in a pleasing style—an illustration of which forms our initial letter. The Church is rich in monuments. Beyond mentioning a fine evidence of Chantrey’s skill, in a monumental figure to the memory of the Countess of St. Vincent,—the lady kneels in an attitude of submissiveness to the inevitable stroke, her coronet being laid aside,—beyond this mere mention, and that the family vaults and monuments of the Parker family, of Park Hall, the patrons of the living, exist here, we shall confine ourselves to the memorials of the two founders of the ancient and more modern Castles of Caverswall. At the entrance to the chancel, near to the foot of the pulpit stairs, is a massy slab of grey marble, laid in the floor. This is all that now remains of the monument of Sir William de Caverswell, the builder of the Castle in the time of Edward II., about A.D. 1300. It has originally contained a large and elegant cross-fleurie, stretching over the entire length of the slab, a shield on each side, and an inscription running along the head and the two sides, all in inlaid brass. Erdeswick, the Staffordshire antiquary, who described it about two hundred and fifty years ago, tells us that then the metal had been taken out. He adds, in a parenthesis, “such is the iniquity of this day;” but yet he was able to perceive what the letters were. These letters are in a fine character of the period, before black-letter was employed. Having carefully examined them, we were still able to decipher the whole, and now present a more correct reading than has ever before appeared, which, together with the accurate drawing of this rich and finished tablet (printed on the front page of this article) by our artist, Mr. F. Hulme, will, we trust, preserve a faint memory of the original. The inscription commences at an ornamental cross near the top on the left side, and ends at one opposite.

†Hic: jacet: Willƞs̄: de: Kaverswelle: miles.†

Then follow these lines along the two sides:—

“Castri: strvctor: eram: domibvs: fossis: que: cemento.
Vivvs: dans: operam: nvnc: clavdor: in: hoc: monvmento.”

Which Dr. Plot informs us was Englished thus:—

“Sir William of Caverswall, here lye I,
Who built the Castle, and made the pooles by.”

In a spirit not altogether inaccordant with the original, another hand added this couplet, as Dr. Plot further says:—

“Sir William of Caverswall here you lye,
Your Castle is down, and your pooles are dry.”

In the south wall of the chancel is a mural tablet in memory of Matthew Cradock, Esq., the founder of the present Caverswall Castle. In its style, this monument bears

marks of the age in which it was constructed,—the reign of Charles I. It is worthy of note, however, that, whilst the hand of man, as well as his foot, has continually warred against the monumental memorial of his great predecessor for more than five hundred years, without being able to obliterate the recognition of his name and merits, the inscription on that of Matthew Cradock, although not of half the antiquity, protected and even partially renewed, is now, in the main, irrevocably effaced. It has commenced in these terms, “Hic sepelitvr Matie Cr rmig.” The rest is so greatly defaced, as only to allow us to make out that he married Elizabeth, the daughter of a Salopian esquire, and that his first-born child married the daughter of John Saunders, M.D., which agrees with the inscription on the mural tablet of George Cradock, Esq. Some lines in white paint below profess to have derived their origin from “ I. M. R. E. de Stoke.” Matthew Cradock, we believe, was a merchant, and was returned to Parliament, A.D. 1640, 15 Charles I., for the City of London. His arms appear upon the tablet.

At an early period of the contest between Charles and his Parliament, Caverswall Castle seems to have excited notice, and was garrisoned for the Parliament; the family, no doubt, took this side. From the following entry of the Committee at Stafford, the widow of George Cradock, Esq., appears to have received some marks of respect amidst this military intrusion. “Dec. 4, 1643.—It is ordered that Captain John Young shall forthwith repayre to Carswall House, and safely keepe the same for the use of the King and Parliament, until he shall have order to the contrarie. But he is to leave his horses behind him at Stafford; he is likewise to use Mrs. Cradock with all respect, and not suffer any spoyle or waste made of her goods.” “It is ordered that Mrs. Cradock shall have, towards the fortification of her house at Carswall, liberty to take, fell, cut downe, and carrie away any timber, or other materials, from any papist, delinquent, or malignant whatsoever.” “March 1, 1643-4.—It is ordered that Carswall be made unservisable.” This last order does not appear to have been fulfilled to the letter; for Caverswall Castle still remains unimpaired, sombre and venerable, to grace the verdant meads amid which it is situated—to shelter the religieuses who have succeeded the refugees from the Low Countries—and to show the pilgrim, who wanders through shady dells and by babbling brooks, catching the bland whisperings of the spirits of the past, that—

“Time
Has moulded into beauty many a tower,
Which, when it frown’d with all its battlements,
Was only terrible.”

INGESTRIE, STAFFORDSHIRE.

INGESTRIE HALL,
STAFFORDSHIRE.

erhaps there are few districts so rich in historical interest as that in which is situated this venerable Mansion. The manors of Shugborough, Sandon, Chartley—with its ruined Castle—Heywood, Blithfield, and Wolseley, are all within view; Tixal Heath, with its abundant legends, is close at hand;[29] and the ancient Town of Stafford is distant about three miles. Ingestrie, or, as now more commonly written, Ingestre, and anciently Ingestrent (from ing, in Danish, a meadow, that is, Trent Meadow), and in Domesday-book called Gestreon, was a part of the Great Barony of Stafford, and granted to Robert de Toeni by William the Conqueror, being then valued at 15s. 5d. In the reign of Henry the Second, it was held by Eudo, or Ivo de Mutton, or Mitton, who gave certain lands in Ingestre to the Priory of St. Thomas à Becket near adjoining, and then newly-founded: he afterwards became a lay-brother there, leaving his possessions to his son, Sir Ralph de Mutton, who had issue Adam and Philip, both knights. Sir Adam was also a benefactor to the fore-named convent, and had the presentation of a canon granted to him and his heirs for ever, to celebrate Divine Service for the souls of Sir Philip de Mutton, his brother, his own soul, and those of his ancestors and successors: he died in the fortieth year of the reign of Henry the Third, leaving by Isabella, his wife, Ralph, his son, who died without issue, and Isabella, his only daughter, married to Sir Philip de Chetwynd. After the death of Sir Philip de Mutton without issue, Philip de Chetwynd, son of Sir Philip and Isabella, became sole heir to that family (the Muttons) in his mother’s right, and was possessed of Ingestre, &c., &c.; which, by a continued succession, descended to Walter Chetwynd, Esq., who, dying without issue, his estates devolved to Captain Chetwynd, his near relation, whose descendants were created Barons of Ingestre and Talbot. In 1784, John Chetwynd Talbot, who succeeded his uncle William in the barony, was raised to the dignity of an Earl of the United Kingdom by the style and title of Earl Talbot of Ingestre.

His successor was his son, Charles Chetwynd, Earl Talbot of Ingestre, whose seat is still the noble old Hall of his ancestors. None of the nobles of the kingdom are more universally esteemed or respected. He has extensive estates in the immediate neighbourhood in his own holding; and is distinguished by his active promotion of agricultural improvements. The nobility and gentry of the surrounding district frequently assemble to witness the success of his experiments, and to participate in the hospitality of this noble “English farmer.” His Lordship, however, has not altogether eschewed public life. For some time he was the Irish Viceroy. The manor and estate of Ingestre have recently received a large accession by the purchase of the Tixal Estate, from Sir Clifford Constable, by the present Earl Talbot.

Ingestre Hall is pleasantly situated on a gentle declivity, sloping towards the river Trent, in a large and richly wooded park, which contains some remarkably fine beech and other trees.[30] The house has a stately and venerable appearance. It is in the style which prevailed during the reigns of Elizabeth and James the First—having various projections, bay windows, and others with stone mullions. The north front was built by the present Earl, corresponding in character with the south front; and like that also of brick and stone; by which means several elegant rooms and a grand staircase have been added. The north side has a terraced flower-garden ornamented by fountains, a stone balustrade, &c., which add much to the elegance of this part of the building. The interior well agrees with the exterior—consisting of large and well-proportioned apartments, the principal of which is the Library, an elegant room occupying the western portion of the Mansion, containing a valuable collection of Books, placed in handsome oak cases, with pilasters, &c., of the Corinthian order; also a beautiful marble fire-place. The Billiard-room is wainscotted with oak, one-third of its height, containing a variety of grotesque heads in small panels. The grand Staircase has a massive oak railing of arabesque character. The interior, however, has been greatly modernised; and its chief attraction to the antiquary will arise from the Family Portraits, which possess considerable interest. But the Mansion contains a rich treasure of historical and antiquarian lore: in the Library are preserved five Volumes in Manuscript, collected by Walter Chetwynd, Esq., consisting of Letters, Pedigrees, &c., &c.[31]

The present Church of Ingestre is situate very near the Hall, on the S.E. side (the ancient Church was on the S.W. side of the house), and is a plain but handsome structure in the Grecian style of architecture—consisting of a Tower; a Nave, with side aisles; and a Chancel; the Ceiling of the Nave being much enriched with festoons of fruit, flowers, &c.—and that of the Chancel with shields of arms, &c. The Nave is separated from the Chancel by an appropriate Screen, having the Royal Arms in relief over the Entrance, and, together with the Pulpit, &c., is of Flanders oak. The Chancel contains several mural Monuments of the Chetwynd Family, and Busts of the late Countess and a little Boy. There is an interesting mural Tablet for the late unfortunate Charles Thomas Viscount Ingestre, who was lost in a Morass, near Vienna, on the 23rd of May, 1826, being twenty-four years of age; it represents the extrication of his dead body. There is also a figure exhibiting Religion with a chalice in the hands. This is placed on a Monument to the present Earl’s brother, the late Rev. John Talbot, Rector of Ingestre, &c. The Church has six fine Bells, and an Organ; and was built by Walter Chetwynd, Esq., in 1673. A full account of the building and consecration of the Church is given by Dr. Plot, in his “Natural History of Staffordshire.”[32]

The neighbourhood of Ingestre is full of historical interest. On Hopton Heath (now inclosed), distant about a mile and a half, a bloody battle was fought on Sunday, the 19th of March, 1643, between the King’s troops, commanded by Spencer Compton Earl of Northampton, and the Parliamentary Forces under Sir John Gell and Sir William Brereton; in which the Earl, with six captains and about 600 soldiers, were all killed. Human bones and fragments of military weapons have been turned up by the plough on this spot. One of the most interesting of several ancient remains in the vicinity is that of Chartley Castle. It has been a ruin for more than a century. The Park contains a thousand acres, inclosed from the Forest of Needwood, and never submitted to the plough. It has long been inhabited by a noble herd of “wild cattle,” descended, in a direct line, from the wild cattle of the country which roamed at large in ancient times over the Forest of Needwood—probably a corruption of Neat’s Wood, or the Wood of Cattle. Chartley Castle was one of the prison-houses of Mary Queen of Scots. On the 21st of December, 1585, she took her final leave of Tutbury, and was removed to Chartley. It was during her residence at the latter place, that what has been denominated “Babington’s Plot,” was matured; which, on its discovery, led to the execution of no less than twelve persons engaged in it. The discovery of this plot, likewise, in which Mary herself was intimately involved, hastened the fate of the unhappy queen. It was whilst Mary was on horseback, enjoying the sports of the field, in this neighbourhood, that she received the messenger who communicated the discovery of her guilt. The announcement of the fatal intelligence which Sir Thomas Gorges conveyed, suddenly extinguished the fond expectations which had been so long cherished. She instantly directed her horse’s head homewards; but was not permitted to return thither. She was conveyed to Fotheringay—the last sad scene of her eventful history.

From a sketch by A. E. Everitt. Day & Son, Lithʳˢ. to The Queen.

THE OAK HOUSE, WEST BROMWICH, STAFFORDSHIRE.

THE OAK HOUSE, WEST BROMWICH,
STAFFORDSHIRE.

est Bromwich—a village distant a few miles from busy Birmingham—supplies a curious and interesting example of the half-timbered houses, of which many still remain in the Midland Counties of England. It is commonly known as “The Oak House,” is situated on the borders of the great Staffordshire coal-bed, and is now surrounded by collieries,—creating a dense and murky atmosphere, which almost hides the ancient mansion from sight. Yet the site was well chosen; for at the period of its erection it commanded extensive views of a picturesque and fertile country, now absolutely covered with iron-works and other results of the traffic peculiar to the district. Far as the eye can reach, it encounters only the smoke and steam which indicate busy labour; the few trees that endure to grace the landscape are stunted and sickly, and even the fields seem never to have borne a coating of natural green. Nevertheless, although the eye may turn away unrefreshed from a scene which exhibits Nature expelled by Commerce, the mind will be cheered to know that in these unsightly mountain-heaps, “dug from the bowels of the harmless earth,” originates the true supremacy of England. The coal-fields of Staffordshire and Warwickshire render available the gigantic discoveries which have made the present century already famous. Without their aid, science and manufacture could have achieved comparatively little; it is by such auxiliaries only we can set at work the forge and the foundry, where

“Incessant, day and night, each crater roars,
Like the volcano on Sicilian shores:
Their fiery wombs each molten mass combine;
Thence, lava-like, the boiling torrents shine;
Down the trenched sand the liquid metal holds,
Shoots showers of stars, and fills the hollow moulds.”

The “Poet of Science” seems to have had in view the locality to which we refer; at least, to no part of England are his lines more strictly applicable.

Little is known of the ancient possessors of the Oak House, notwithstanding that the direct descendants of the earliest occupants continued to inhabit it until towards the close of the last century. The only author who appears to have taken any note of them is the Rev. Stebbing Shaw, who in his “History of Staffordshire,” under the head of West Bromwich[33] states, that the Oak House belonged for several generations to a branch of the respectable old family of Turton, of Abrewas, near Lichfield; and the first mentioned in this parish was John Turton, in the freeholders’ book, A.D. 1653. Amongst the inscriptions formerly in the ancient Church of St. Clement, here, was one to the memory of William Turton, of the Oak, gent., who died A.D. 1682 (son of that John), and Eleanor his wife, daughter of Robert Page, of Leighton, in the county of Huntingdon, who died A.D. 1696, ætat. 61; and one also to John Turton, of the Oak, gent., the eldest son of the above William, who died December 6th, 1705, ætat. 45. This is the same John, no doubt, who, with William his brother and Sarah their sister, are mentioned in the will of Sir John Turton, of Abrewas, as his cousins. Either from the first mentioned John, or from another of that name settled at Rowley Regis, a few miles off, was, according to Shaw, descended the eminent physician Dr. Turton, of London, whose ancestors had for some years resided in an old house called “The Hall,” at Wolverhampton. The house and estate afterwards came into the possession, by will, of a Mrs. Whylie, who left it to the present owner, J. E. Piercy, Esq., of Warley Hall; and it is now inhabited by his agent, Mr. Samuel Reeves.

The general character of the building is that of the later years of the reign of Elizabeth; this will be sufficiently apparent from the drawing of the north front, which supplies our principal plate. The groups of tall chimneys, and the minor details of the doors, windows, &c., are all of that age; while evidence of its date is confirmed by the south or garden front (as will be seen by the accompanying vignette), built chiefly of red brick, and containing the pediments and square stone mullions of the period.

Upon entering the house, through the porch, we reach a narrow passage, formed by a small room, abstracted from “the Hall”—the spacious hall of former times. At the termination of this passage a door leads into the present hall, of far more limited extent, from which a broad flight of stairs conducts to the upper apartments. These apartments, however, having been long disused, exhibit the melancholy aspect of desertion and decay. The stairs consist of four flights, and the balusters of the whole are curiously carved; the small pendant hanging from the upper flight,

as seen from the first-floor landing, supplies our initial letter. On the ground-floor there are four of the rooms pannelled with oak, the chimney-pieces being carved in arabesques.

The peculiar feature of this house, however, is the very curious timber turret or lantern which rises nearly from the centre of the roof, and has its principal frontage towards the north. It is square, and forms one small room, to which a subsequent addition appears to have been made.

The parish Church (dedicated to St. Clement) is distant from the House about two miles. Modern “improvement” has been busily at work in mutilating and defacing it; yet “ignorant churchwardens” have been unable to deprive it entirely of the venerable character it derives from age.

From the little that remains of ancient work, the whole Church seems to have been built during the later period of the Decorated style of architecture, with here and there additional portions of a later date. On the south side there is a small chapel but whether used as a chantry or not is uncertain, the date upon it being as late as 1618. It is most probable that it was used as the burial-place of the Whorwoods; an old family, who inhabited a mansion built on the site of the Priory of Sandwell, which stood at a short distance from the Church. The Tower of the Church is square, of two stories, and has an octagonal turret on its northern side. The Font also is octagonal, with the sides pannelled, and containing shields. It stands at the west end of the north aisle.

In the immediate neighbourhood of the Church are several old houses, which seem to belong to the seventeenth and early part of the eighteenth centuries, and originally formed the village of West Bromwich, which at that period must have been a very inconsiderable place; but, from its situation near the main-road through the mining district, and the rapid increase of coal and iron works in its vicinity, it has become of considerable note; the whole of the distance between the Oak House and the Church being thickly covered with houses, among which are three new churches, several meeting-houses, and the other ordinary accompaniments of a modern town. Within about the distance of a mile, at a place where three lanes meet, is a wayside inn, bearing the sign of “The Stone Cross;” of the cross which formerly existed there, barely a trace is left.

Amongst the other timber houses in the immediate vicinity of Birmingham, there are but few remarkable for any peculiarity of construction; such as still exist have been in nearly all cases subjected to the “improvements” which destroy early and valuable character; perhaps the only exception is an old house, situated on the north side of the churchyard at Kingsnorton (a village in the county of Worcester), about five miles distant from Birmingham, which is still retained for the use of a Free School, founded there by King Edward VI., but which, from having a window at its east end, that clearly belongs to the decorated period of English architecture, was most probably used as a residence for the priest of the adjacent church. But although the neighbourhood is so deficient in good examples of ancient timber houses, there will be found several mansions worthy of observation; we need mention only the names of New Hall, near the little town of Sutton Coldfield; Castle Bromwich Hall, the seat of the Earl of Bradford, erected in 1580; the ancient Castle of Maxtoke, which remains, for the greater part, in good preservation; and the magnificent pile of Aston Hall—one of the finest and best preserved Halls yet existing in the Kingdom.

From a sketch by H.L. Prout. Day & Son, Lithʳˢ. to The Queen.

THROWLEY HALL, STAFFORDSHIRE.

THROWLEY HALL,
STAFFORDSHIRE.

hrowley Hall. In the North-East corner of the County of Stafford there exists an elevated region of limestone hills; one of which, the Bunster, rises to the height of twelve hundred feet above the level of the sea. Their scanty soil, pierced in many places by the naked rock, bears a rich verdure, which is cropped by numerous herds of cattle and sheep. The bottoms of the intervening valleys are occupied by clear streams, which dash along their stony beds, and give fertility to the various shrubs and trees growing upon their margins. In a concavity, about midway down one of these hills, stands the old Hall of Throwley. In the vale below, the superterranean or surface course of the river Manyfold winds its devious way. This stream, like its fellow, the Hamps, sinks into fissures of the rocks, and flows through caverns hid in the earth, for some miles, whilst the remaining portion of the waters, especially during floods, occupies the bed we have pointed out. The valley of the Manyfold, opposite Throwley Hall, is marked by an umbrageous wood, exhibiting a highly luxurious foliage of varied tints.

This picturesque spot, environed by the neighbouring hills of such great altitude, was chosen for the foundation of a house at a remote period. At the time of Erdeswick, we find him recounting that “Throwley is a fair, ancient house, and goodly demesne; being the seat of the Meverells, a very ancient house of gentlemen and of goodly living, equalling the best sort of gentlemen in the Shire.” In the fifth year of the reign of King John, Oliver de Meverell was settled here. In the second of Edward the First, Thomas de Meverell married Agnes, one of the five daughters and co-heirs of Gerebert de Gayton. In a deed given at Fredeswall, now Fradswell, another manor of the Meverells, in the seventeenth year of Edward the Third, we find the name of Thomas de Meverell, Lord of Throwley. The following inscription occurs on an alabaster monument in the south aisle of the chancel of Ilam Church, in which parish Throwley is situated:—“Here lyeth yᵉ bodies of Robert Meverell Esqvʳ & Eliz: his wife, Davghter

of Sʳ Tho: Fleming Kniᵗ & Lord Cheife Ivstice of yᵉ Kings Bench, by whō he had issve only one davghter, who maried Tho: Lord Cromwell, Visconte Lecaile; wᶜʰ Robert died yᵉ 5th of Febrʸ anᵒ 1626 & Elizabᵗʰ departed yᵉ 5th of Avgvst 1628.” Upon a slab are placed the effigies of this Robert, the last male of the Meverells, and Elizabeth his wife, in the magnificent ruffs and other costume of the period—the husband wearing a vast pair of boots with spurs on them, the former falling in thick wrinkles from the ankle to the knee, and terminating in a peak about the middle of the thigh. In a recess in the wall above is the kneeling figure of their daughter and heir, Lady Cromwell, wearing her coronet, and her four children by her. There are shields of arms emblazoning those of Meverell, viz., argent, a griffin segreant sable, armed gules, with the alliances enumerated; and above the tomb is suspended a helmet having a pointed visor. We are enabled to trace this heiress of the ancient House of Meverell to her last resting-place, for in the floor near the altar in Fradsivell Church is a flat stone, inscribed, “Dame Cromwell.” And on an old Tablet in the Chancel may still be read: “Iana Cromwellʳ: Ex nobilibus Familys Cromwellorum et Meverillorum.” 1647. From the family of Lord Cromwell, Viscount Lecaile, and first Earl of Ardglass, in Ireland, Throwley subsequently passed to Edward Southwell, the last Baron de Clifford; and was sold by him in 1790 to Samuel Crompton, Esq., whose son, Sir Samuel Crompton, Bart., of Wood End, near Thirsk, is now the proprietor of it. The Hall is occupied by a worthy family of the name of Phillips.

The “fair ancient house of Throwley” has undergone many mutations since the days of Erdeswick. It still, however, presents a diversity of outline which corresponds admirably with the imposing site it occupies. It is built of the limestone of the neighbourhood, quoined with larger gritstones; and its walls bear a very time-worn appearance. On the Eastern side, its gables, large bayed window of many lights, divided by stone mullions, terminating in depressed arches, and its strong square tower, carry us back to the Sixteenth Century—the period of its erection. Whether it was the work of Robert, the last male of the House of Meverell, or one of his predecessors, we are not enabled to ascertain by any positive evidence; yet there is little doubt the latter surmise is most correct. On the western side of the House there formerly stood a large Chapel, with a lofty ceiling to the roof; a stone of which, still preserved, bears the initials “F. M.”, most likely pointing to the founder of the entire structure. The little turret contains a circular stone stair, that conducts to the roof of the tower, the leads of which bear many a mark of visitors long since departed—most of them to an eternal home. The view here, as it takes in a large reach of the valley in both directions, and Castern on the opposite hill, is very fine. The principal entrance to the House of Throwley has been on the north, and leads first to a small Entrance-Hall, and next, to the great Hall; which in the strange transmutations it has undergone, retains only a portion of its wainscot and the massive beams of oak that support the ceiling. This Hall is lighted by the lower window in the large bay to the left of our litho-tint. A fine room of equal size, above, entered by a pair of oaken folding doors, has been richly finished, its ceiling still bearing a beading that has been gilt, disposed in an elegant device of octagons and stars. This chief apartment has had a large bay-window, containing two rows of six lights each, to the South, as well as the Eastern bay apparent in the engraving. All these windows are rendered secure by upright bars of iron, bearing cross-bars at short intervals. They have formerly contained some stained glass, the only remains of which, the arms of Lord Thomas Cromwell quartering the sable griffin segreant of the Meverells, are now placed in the neighbouring farm-house of Mr. Parramore. An upper wainscotted room in Throwley Hall still retains an appropriate memorial of its former lordly occupants in the armorial bearings of the House of Ardglass, elaborately carved in high relief in oak, now enriched by the tints of age, with the supporters, two fierce winged bulls. At a short distance behind the house stands a stately pile of ancient stabling, two lofty stories in height, topped with a high-pitched roof. The entrances are so tall, that we might conclude the lords and dames of other days had mounted their steeds before they issued to the chase or other amusements—among which we may presume that of falconry would be no infrequent pastime amid these wild hills.

Of the ancient owners, the Meverells, almost the only additional historical notice we can regain, is, that Arthur Meverell of Throwley was the last Prior of Sutbury. At the period of the Dissolution, A.D. 1538, he, together with eight monks, surrendered the Priory, with all its possessions, into the hands of Henry VIII.; the original deed still remaining in the Augmentation Office, with the signatures of the Prior and brotherhood, and the common seal of the Convent attached. In consideration of this surrender, Arthur, the Prior, had an annuity of fifty pounds.

Besides the remarkable natural phenomenon before alluded to, of the disappearance of the rivers Hamps and Manyfold in this vicinity, the vast caverns in the limestone rocks present to our notice objects of great interest. One of these, within a short distance of Throwley, has long been distinguished by the name of “Thor’s House.” Both rivers and caves are happily alluded to by the poet:—

“Still the nymphs emerging lift in air
Their snow-white shoulders and their azure hair;
Sail with sweet grace the dimpling streams along,
Listening the shepherd’s, or the miner’s song;
But when afar they view the giant cave,
On timorous fins they circle on the wave,
With streaming eyes, and throbbing hearts’ recoil,
Plunge their fair forms, and dive beneath the soil.”

By following the valley from Throwley about two miles, we reach the beautiful gardens of Ilam Hall, its ivy-covered Church, and the village itself. Passing over the chaste productions of modern art crowded into this graceful spot, which is equally marked as the opening, round the base of the mighty Bunster, of the most romantic portion of Dovedale, we can scarcely refrain from noticing, as we depart, the two fragments of ancient crosses, covered with sculpture forming rude devices, in the churchyard; the curiously-figured Norman font; and the plain but handsome altar-tomb in the Church, which is pierced at the sides with large quatrefoils, and bears the designation of “Bartram’s Tomb.” This latter attracted Dr. Plot’s attention, who referred it to St. Bertelline. He was the son of a king, and a hermit, who is related to have lived on an island where the present town of Stafford is situated, till he was disturbed, when he removed into some desert mountainous place, where he ended his life. Plot has concentrated—

“Tradition’s dubious light,
That hovers ’twixt the day and night,
Dazzling, alternately, and dim,—”

upon the wild hills and dells which abound round Throwley, Ilam, and Dovedale. He enumerates, as corroborative testimony, this tomb, which he considers may have been renewed,—as undoubtedly it must have been if it have reference to the legend; a well, and an ash tree near it, on the western side of Bunster, towards the base;—all of them being then and still popularly appropriated to St. Bertram. St. Bertram’s ash has been cut down in the memory of many living in the village; whilst the water of St. Bertram’s Well, “clear as diamond-spark,” still rills out of the base of the mighty hill.

From a drawing by W. F. Hulme. Day & Son, Lithʳˢ. to The Queen.

TRENTHAM HALL, STAFFORDSHIRE.

TRENTHAM HALL,
STAFFORDSHIRE.

rentham, the home or settlement on the Trent, has been a village since the days of the Saxons, who adopted this fertile nook on the banks of a beautiful stream as a fit abode for man. Here, in this well-selected spot, they were led by their religious impulses to found an Abbey, over which presided no less a personage than Werburg, daughter of the ferocious Wulphere, king of Mercia, whose palace was hard by, at Berry-Bank, and whose wicked murder of his two sons, Wulfard and Rufin, on suspicion of their conversion to Christianity, was perpetrated at Bursson and at Stone, where subsequently religious houses were erected as memorials of their martyrdom. St. Werburg, for she was canonized, and was, moreover, sister to King Ethelred, died at Trentham or at Hanbury, in the year 683, was buried at the latter place, and her body was in the year 875 removed to Chester Cathedral, where the rich decorated stone case of her shrine now forms the bishop’s throne. Of the Saxon abbey of Trentham no records remain; of its “ancient glories” there exists not a trace.

In the time of King Stephen,

Ranulph, the second of the great Earls of Chester who bore that name, refounded the monastery of Trentham for canons of St. Augustine. In the present church, which closely adjoins to Trentham Hall, and which, by the munificence of the Duke of Sutherland, has been within these three or four years carefully and judiciously restored in every part, under the charge of Mr. Barry, we have still some slight but interesting remains, reaching back nearly to the time of its foundation. These consist of the tall, round, Norman piers of the nave, with their quaint capitals, and the bold and lofty pointed arches to which they give support.

The appended woodcut exhibits the interior of the church—the screen, of carved oak, being one of very considerable beauty.

At the Dissolution, the Monastery had only seven religious, and was granted by King Henry VIII. in 1539, to Charles Brandon, duke of Suffolk. It afterwards came into the possession of the Levesons, a Staffordshire family of great antiquity, seated at Willenhall. Nicholas Leveson, lord-mayor of London, died in the year that Trentham was granted to the Duke of Suffolk. His great-grandson, Sir John Leveson, left two daughters only, co-heiresses; one of whom, Frances, by marrying Sir Thomas Gower of Sittenham, carried Trentham and other extensive possessions into this ancient Yorkshire family, which dates from the Conquest. Sir John Leveson-Gower was elevated to the peerage in 1702-3, as Baron Gower of Sittenham. His son John, the second Baron, was constituted Lord Keeper of the Privy Seal, and was repeatedly one of the Lords of the Regency during the absences of George II. on the Continent. In 1746 he was created Viscount Trentham of Trentham, and Earl Gower. He died in 1755, and was buried at Trentham. He was succeeded by his eldest son, Granville, the second Earl, who was Member of Parliament for the city of Westminster. On the occasion of his appointment as one of the Lords of the Admiralty, his re-election was strongly opposed by Sir George Vanderput, who was defeated by a small majority. In consequence, a scrutiny ensued; and there occurred several riotous proceedings recorded in the journals of the time. He filled the high offices of Lord Privy Seal, Lord Chamberlain, and Lord President of the Council. He was installed Knight of the Garter, and created Marquis of Stafford in 1786. His eldest son, George Granville, also a Knight of the Garter, married the late estimable Countess of Sutherland in her own right, and was created Duke of Sutherland in 1833. This peerage, according to some of the Scottish writers, is the most ancient of any in North Britain. The Duke did not long survive to enjoy his new dignity, but died in the same year, carrying with him the sincere regret of his numerous tenantry. The latter, to testify their respect for His Grace’s memory, commissioned Sir Francis Chantrey to execute a colossal statue of their noble landlord, which occupies a neighbouring height of great elevation, immediately in front of Trentham Hall across the lake, and forms a very conspicuous object in the surrounding scenery. Of the present noble possessor of the title, George-Granville-Sutherland-Leveson-Gower, the second Duke of his family, it will not be necessary to add much. After sitting in the Commons for Staffordshire, he was summoned to the House of Peers in the lifetime of his father, as Earl Gower, and is distinguished for the gracious dignity with which, during the whole of his career, he has sustained the honours of so many ancient and noble families, concentrated, as it were, in his own person.