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. II.
LONDON:
WILLIS AND SOTHERAN, 136, STRAND.
MDCCCLVIII.

CONTENTS OF VOLUME II.

Drawn by J. Dafforne. M. & N. Hanhart, Lithogʳˢ.

SAWSTON HALL CAMBRIDGESHIRE.

SAWSTON HALL
CAMBRIDGESHIRE.

awston Hall is situated to the right of the long and straggling village of Sawston, on the high-road to Cambridge, from which it is distant about six miles. For many centuries it has been the residence of the Huddlestons, an ancient and honourable family, of the Roman Catholic faith. The mansion lies low, and is partially hidden by thickly-clustered cottages and gardens. It is a large quadrangular building, erected during the reign of Queen Mary, under circumstances which we shall presently explain. It retains much of its original character, both externally and internally; and, although it cannot boast of great architectural beauty, it may be considered as a good example of the gable-ended style of the sixteenth century. The principal entrance is by a low door-way, underneath a porch, leading into a spacious hall, paved with Kettering stone and black marble, and lighted by two windows, exhibited in the appended wood-cut, and a large bay-window

on the same side.[1] The wainscotting has been stained to imitate walnut-wood. The walls are adorned by several finely-painted portraits. Of the rooms on the upper floor there are none that demand especial notice: two of the bed-chambers are, however, hung with faded tapestry, concealing doors that lead to remote parts of the building. The antique damask bed-furniture and quilted coverlets are relics of ages long passed away. The Gallery, hung with old family portraits, extends nearly the whole depth of the mansion—being upwards of one hundred feet long by about eighteen wide, with oak panels to the ceiling. A door-way in the court-yard conducts to a neat chapel, containing a window of stained glass, and an altar of fine Egyptian marble, inlaid with lapis lazuli. The venerable edifice

derives its principal attraction from its associations with the olden time: it is impossible to wander through its now nearly deserted apartments, without reading a solemn and impressive passage from history. Its great characteristic is solitude. The present occupant—a bachelor of venerable years—is almost the last of a distinguished and honourable race, leading a secluded life in the house consecrated by a long line of noble ancestors. Though dwelling apart from the business and turmoil of life, secluded alike from the toils and anxieties of the world, where

“Silence pervades the halls of revelry;”

there are, nevertheless, many who can testify to the active benevolence of his nature, to his worthily representing the virtues of generations of great and good men; and that when he dies “his works will follow him.”

In supplying some details of the family history, we avail ourselves of the genealogical roll, which the courtesy of the venerable representative permitted us to inspect. We copy the superscription: the document itself is upwards of eighteen feet long, and contains a multitude of names

“Writ in the annals of their country’s fame.”

“This Pedegree, Genealogy, or liniall Descent of the Ayntient and Rightworthey Famylie of Hodlestone of Salstone, in the Countey of Cambridg, and of Hodlestone, Lords of Milham, in the Countey of Cumberlande, and of divers other Manners and Lordshipps, shewing theire Matches and Aliances with many Princely, and Honorable, and Right Noble famyleyes, faithfulley and carefulley Drawne and Collected out of the Publick Recordes of this Kingdom, Ayntient deedes and evidences, bookes of Arms, and other venerable Prooves, by John Taylor, at the Lute, in fleetstreet, Anno 1641.”

The pedigree on the maternal side begins with Henry I., continues through the various monarchs who filled the throne of England down to Edward III. and John of Gaunt, whose sole daughter, Joane, became the wife of Ralph Neville, Earl of Westmoreland, by whom she had a son, Richard, married to Alice, daughter and heir of Thomas Montague, Earl of Salisbury; at whose death, in 1428, the earldom became extinct, but was afterwards revived in the person of the aforesaid Richard, from whom descended Joane (wife of William Fitz-Allan, eighth Earl of Arundel), Richard Earl of Warwick, the “King-maker,” and John Marquis of Montagu, slain with his brother at the battle of Barnet. This last married Isabella, daughter and heiress of Sir Edmond Inglethorpe, Knt., by whom he had five daughters, coheiresses, of whom one, Isabella, was the wife of Sir William Hodleston, Knt., of Salston, in the county of Cambridge; to him the estate descended in right of his wife. The deed of conveyance, dated 17th Henry VII., is in the possession of Mr. Huddleston.

On the paternal side, the list commences with Nigell de Hodleston, settled in Cumberland at the time of Henry I., which Nigell, surnamed Propositus (provost or warden), “gave to the Abbey of Selby two carrucates of land and a half in Millum, and parte of his tythe in Hodleston, with the socage, &c.” About the same period mention is made of Godard de Millum, who gave to the Abbey of St. Mary of Furney’s certain lands “for the safety of his soul, and of all his ancestors.” Sir Adam de Hodleston sat in Parliament as Knight of the Shire, in the third of Edward II., and afterwards became connected by marriage with Miles de Stapleton de Bedell, of the county of York. Millum Castle was fortified and embattled, in 1335, by Sir John de Hodleston; and a Richard de Hodleston was a man-at-arms at the battle of Agincourt, in the retinue of Sir William de Harington, Knight of the Garter. He was knighted after the engagement, by the king.

From an intermarriage among the descendants of Nigell and Goddard, sprang the above-mentioned Sir William Hodleston, whose grandson, John,[2] (afterwards knighted by Mary), was united to Bridgett, daughter of Robert Cotton, of Landwade, or Lanwood, ancestor of the present Sir Vincent Cotton; for him, or by him, Sawston Hall, as it now stands, was erected.

The circumstances connected with the building of Sawston Hall are akin to Romance. The popular tradition is, that it was erected at the cost of Queen Mary, who, when a fugitive from her enemies, after the death of Edward VI., found shelter in the ancient house of the Huddlestons. Her pursuers reached the Hall within a very short time after she had quitted it; and in their rage of disappointment at losing their prey, burnt to the ground the mansion that had harboured her. She is said to have witnessed the conflagration from a distant hill; and to have exclaimed, “Let the house burn; I will build Huddleston a better.”

“She kept her word:” writes a modern historian. “Sawston Hall was built by her order, and at her cost.” Unfortunately, however, there exists evidence that the Queen forgot her promise, if she ever made it, to her preserver. It is believed, indeed, that “she gave the stone from Cambridge Castle to rebuild the House,” but it is certain that, at least, it was unfinished many years after Mary’s death, although commenced during her lifetime. In the court-yard are two stones, which record the dates—probably of the commencement and termination of the building. Upon one are the initials, J. H., and the date 1557; on the other, those of E. H., (Edmund, son of Sir John,) with the date 1584.

The village of Sawston stands in the hundred of Whittlesford, and deanery of Camps. There are four manors in this parish—Pyrotts, Dernford, Dale, and Huntington—all now the property of Mr. Huddleston. The manor of Pyrotts continued until the year 1329 in the immediate descendants of Pirotus, who held it under Eudo Fitzherbert, Steward of the Household to William the Conqueror. Sir Edmund de la Pole died, seised of this manor and Dernford, in 1419. Mr. Huddleston’s ancestor came into possession of them—which had descended from the De la Poles through the Ingeldesthorps to the noble family of Neville—by his marriage with the daughter of the Marquis Montagu. The manors of Dale and Huntington were purchased by Sir Edmund Huddleston before the year 1580; the manor of Dale, or Le Dale, had been in the Saliston, or Sawston, family, who held it under the manor of Pyrotts by the service of finding an armed soldier whenever the owner of that manor should attend the King to the wars. Near the entrance to the park, there formerly stood an ancient cross, the shaft and pedestal of which alone remain. It forms the subject of our initial letter.

The church of Sawston, which abuts on the park, appears to have been built about the thirteenth century; like most of the churches of Cambridgeshire, it possesses a fine open porch. Sir John Huddleston, who spent the greater part of his fortune in the service of Philip of Spain after Mary’s death, lies buried in the chancel here. The following inscription is engraved on a brass plate placed on the tomb, represented in the annexed woodcut.

“Here lyeth entombed the bodye of Sʳ John
Huddleston, Knighte, vice-chamberlayne unto
King Phylipe, and captaine of his garde; and
one of Queen Marye’s most honorable pryvie
Councell, who died yᵉ fourthe day of Novembr,
in the yeare of our Lorde God 1557.”

BRERETON HALL, CHESHIRE.

BRERETON HALL,
CHESHIRE.

RERETON.—This Mansion, designated by Webb “the stately House of Brereton,” with which the name of Elizabeth, our maiden Queen, is much associated, stands in a beautiful green vale, fertilized by the little river Croco. It is within five miles of Congleton, and three of Sandbach. The plain of Cheshire displays great richness and exuberance in this neighbourhood; and although “evil times” have fallen upon the ancient demesne of Brereton—the park having been stripped of its old familiar trees—it has recently resumed a character of graceful serenity and luxuriance.

Brereton Hall has a western aspect, and looks across the pleasant valley, along which the little stream before mentioned pursues its course, in a direction parallel to the front of the House. In form the plan of the original building somewhat resembled the letter E, consisting of a long front, graced by two octagonal turrets, and two wings, having the gables slightly advancing on the front, but receding backwards a considerable distance. Behind the two stories of apartments above the basement, which were only one room in depth, ran a long corridor, on each floor, communicating with the wings. Amongst the various mutations which time and an attention to convenience and comfort has brought with it to the Hall, a geometrical staircase has been made in the back wall of the corridor, and a large block of offices has been built between the receding wings behind.

Camden, speaking of Brereton, tell us that Sir William Brereton “added much credit and honour to the place by a magnificent and sumptuous house that he had there built.” The building is of brick, quoined with stone. That Queen Elizabeth laid the first stone of this house, and visited it, at a subsequent period, when hospitality presided in its halls, we have not only the authority of unquestioned tradition, but also that of numerous memorials scattered on its walls. The central portion of its exterior seems to have been especially devoted to ornament, and also to defence. On each side of the door-way, there rises from the ground an octagonal tower or turret, projecting by five of its panes from the wall, and formerly ascending above the building, to terminate in a dome, but now surmounted by a low stone battlement. Immediately over the centre of the door-way the sculptures begin by the shield of the Brereton Arms, bearing two bars sable, being suspended on an ermine mantle, from a helmet supporting the crest—the head of a muzzled bear;—below which is the date 1586. In the spandrels of the elliptical arch of this entrance the arms are repeated with different quarterings, a rose being superadded on each side. We next come to a division, reaching quite across the central part of the front, from the outer side of one turret to that of the other, which is richly adorned. In the first place, it is divided into a number of compartments by a series of short carved pilasters, doubled at every angle of the turrets. Square sculptured stones occupy some of the compartments thus formed. In the middle, however—the place of honour—are the arms of Queen Elizabeth, with the garter, bearing the motto, the crest and supporters, on a tablet of good dimensions. On one side of these is a large rose, on the other a portcullis, both crowned, and both also surmounted by the letters E. R. This ornamental stage of pilasters and sculptures, with the heraldic insignia, is repeated above the square-headed windows, the royal arms again occupying the centre. Each turret has a chalice in high relief on its front pane, below the battlements. But, besides these decorations, so distinctive of the taste of the age in which it was erected, this “stately house of Brereton” bears, in this part, and especially on the different faces of the turrets, and near their tops, to command various angles, as well as different distances, another interesting indication of the days of “good Queen Bess,” happily now grown so unfamiliar to our view. We allude to the numerous large portholes which still frown over the peaceful vale. Above the rise of the roof the turrets are conjoined by a closed gallery, occupied by borders and other decorative sculptures, and supported by a depressed arch of some magnitude. The embattled parapet is continued from the turret on each side, along the front of the house to the gables of the wings, being in the place of an open balustrade, which formerly rose here. Each end of the house is furnished with a large bay, both at the front and the side, which are occupied by windows, and surmounted by a pediment containing sculptured ornaments. The effect of this entire front, over which the gray tint of the masonry prevails, being rich in its antique decorations, is solemn and imposing. Yet it excites, rather than satisfies our curiosity.

On ascending the flight of steps in the entrance-hall, we immediately perceive that modern alterations have greatly effaced the impression of former days with which we had expected to have been greeted. There still remain, however, many notable traces left behind. In a good apartment, opening into the corridor, on the left, is a richly sculptured Chimney-piece, which has been removed from a lodging above, called Queen Elizabeth’s Room. On a panel over the fire-place, bordered with carving, the Brereton Arms were formerly emblazoned in inlaid wood of different colours, upon their ermine mantle, which gave rise to the appellation of Queen Elizabeth’s Fan. The original panel is still in the house, though much dilapidated; but the heraldic achievements have been reproduced by the hands of the painter. The Drawing-room in the south wing has a fine bay window, and retains the old oak wainscoting. The ornamental Chimney-piece in this room is divided by pilasters into three panels, having carved borders, and containing the Brereton Arms. But the chief apartment of the House is in this wing—the spacious and magnificent Dining-room. This noble apartment is rich in the usual armorial decorations. Over the massive architectural Mantel-piece of the period, the pilasters of which reach from the floor to the ceiling, the arms of Queen Elizabeth are fully displayed; the supporters being the golden lion and the red dragon, the latter the cognizance of the Tudor family. The letters E. R. occupy the sides of the royal crest, whilst the words Vivat Regina, and the date, 1585, occur below. The family crest and motto, “Opitulante Deo,” are not omitted. Indeed the armorial bearings richly emblazoned, with various quarterings, are repeated again in the window in stained glass. Around the entire circuit of the room, except over the fire-place, where the vacancy is filled up by a scroll and figures supporting a celestial globe, immediately below the ceiling, there runs a curious series of heraldic achievements in carved oak, now emblazoned afresh. They represent crowns and shields bearing the arms of forty-three different states and principalities; to each of which is attached a scroll, with the name of the King or Emperor in Latin. In the windings of every one of these scrolls there is placed a large white, and also a red rose. The shield of the King of Jerusalem (REX HIERUSALEM) bears an ornamented cross, and his crown is a crown of thorns. It might be difficult to divine the meaning of this display of escutcheons and names. If they were intended to represent the allies of the Queen, or those of her family, allegory seems to have been intimately mingled in the device, from the celestial globe above her head, glittering with golden stars on cerulean blue, to all the subsidiary parts.

Queen Elizabeth’s room is a good-sized square apartment immediately over the entrance-hall; formerly panelled round the lower part of the walls, but now presenting no evidence of its former high destiny. Other bed-rooms, however, retain their ancient ornamental chimney-pieces, in alabaster and stone, supported and divided by odd-looking pilasters in the Elizabethan style. The oft-repeated Arms of Brereton, painted and sculptured, occur again and again. In a room south of the entrance they are given with supporters, viz., dexter, a greyhound, sinister, a muzzled bear; and each of the panels at the sides bears a coronet, from which is suspended a medal containing a flourished cipher of the name, W. Brereton. In this part of the building some of the old oak floorings remain. A bed-room in the north wing has an alabaster chimney-piece, with the date 1633 on it. In a room in the south wing, formerly the drawing-room, there is an oaken wreath with acorns round the family crest, finely executed in a close-grained stone. A portion of the ancient oaken staircase, leading from the grand dining-room below to this apartment, is still preserved. The landing of this staircase is curious, as exhibiting the former state of the house unchanged. Around the top of the walls, below the ceiling, is painted a long series of escutcheons bearing the arms of various Cheshire families, with the name on a label attached to each. And the window is occupied in its upper part by six compartments, containing the heraldic devices of the five following families, whose names and the dates are inscribed below, (the sixth is vacant,) viz.,—

LEIGH OF BOOTHES.
MANWARINGE OF CROERTON.
TROWTEBEKE, 1577.
CORBET DE LEGH.
RADELIFFE, 1577.

Brereton occurs in the Survey—when it formed part of the territorial possessions of Gilbert de Venables, Baron of Kinderton. A family, which assumed the local name, had a grant of it as early as the reign of William Rufus. This is the parent stock of the very widely-spreading family of Brereton; and they are to be traced here to about the year 1200. Sir William Brereton, 13th in descent from the founder, was engaged in the wars in Ireland. In 1534, with his son John, he was inshored at Howth with 250 soldiers, well appointed. In the same year he went to summon the strongly fortified castle of Maynooth, which he took by storm, running up “the highest turret of the castle, and advancing his standard on the top thereof, notifienge to the Deputie that the fort was woone.” Another Sir William built this stately mansion, and entertained his royal guest within its halls. In 1624 Sir William Brereton was created Lord Brereton of Leighlin in Ireland, on the death of Francis Lord Brereton. In the wars between Charles I. and the Parliament, another Sir William of this family, but not of Brereton Hall, the famous parliamentarian general, took a very conspicuous part. So early as August, 1642, he began to beat up for recruits, and in the severe contest of the following years, attended by such various fortune, he many times commanded in this county. In June 1644, he received the appointment of Major-General of Cheshire from the Parliament; and ultimately took the strong fortress of Beeston Castle, and the city of Chester itself, by siege; which put an end to the war in this county. Lord Brereton, of Brereton Hall, however, who had espoused the cause of the King, fled before his nephew the parliamentarian general, to Biddulph Hall, in Staffordshire, whither Sir William pursued him, and took him prisoner.[3] In 1722, the male line of the family. In 1722 the male line of the family became extinct by the death of Lord Brereton. The Hall and estates subsequently passed, through female inheritance, to A. Bracebridge, Esq.[4] In 1817, to satisfy certain claims upon it, the estate was dismembered by Act of Parliament; and, after being many years uninhabited, Brereton Hall was purchased by the present proprietor, John Howard, Esq.

The Church, now a rectory, and dedicated to St. Oswald, is within a stone’s throw of the Hall. It is a plain building, in the perpendicular style, encompassed with trees;

amongst which are one or two venerable yews, standing in the churchyard itself. The original chapel was built in the reign of Richard Cœur-de-Lion; but of this ancient structure it is doubtful whether any traces remain in the present building. One of the large windows on the north side of the chancel was formerly filled with stained glass. The subject contained four figures, representing the persons who slew Thomas à Becket, and a fifth, supposed to be Henry II. By an instrument yet extant, it appears to have been portrayed by order of Sir William Brereton in 1608. Perhaps the object of most interest in this church at present is the armour which is ascribed to Lord Brereton. The harness is suspended

from the north wall of the chancel. The shirt to which the rings have been attached (see our initial letter) remains, but they have dropped off. It is surmounted by his helmet, bearing the family crest. Below these hang the gauntlets and spurs; and above the whole a banner has waved, now presenting only its bare staff. Attached to the wall, on the same side of the chancel, is a monumental tablet with a Latin inscription, to the effect,—that this church being in ancient times a donative chapel in Astbury parish, the ancestors of Sir William Brereton, Baron of Malpas, who erected this monument in 1618, were buried in the church-yard of Astbury. Accordingly, in this latter place, on the north side of the church, we find some curious ancient monuments. A fine canopied tomb, in the decorated style, open at both sides, covers two stone effigies, of a knight armed cap-à-pie, with his feet resting on a lion, holding a heater-shaped shield on his left arm; and his lady, with her hands conjoined on her breast, her feet resting on a dog. Within the arch of the canopy is the following inscription, surmounted by the arms of Brereton:—

“HIC JACENT RADULPHUS BRERETON MILES; ET DOMINA ADA, UXOR SUA, UNA FILIARUM DAVIDIS COMITIS NUNTINGDONIS.”

On the left side of this beautiful monument is placed a stone coffin with effigy in flowing robes, a coif, and a beard, in form resembling that of some of the Egyptian deities, being wider as it descends. The head rests on a pillow; the hands are joined in the attitude of prayer; and the feet are placed on an animal, resembling a dog. On the right side of the canopied tomb is another coffin and effigy of a knight in armour, of apparently the latter part of the fourteenth century. The heater-shaped shield has traces of heraldic bearings, seemingly the two bars of the Breretons. This figure has been richly harnessed. The head has been covered by the conical-topped helmet, with the chain camail falling from it over the neck; but some modern stonecutter has done his utmost to transform these military habiliments into an old-fashioned wig.

Cheshire abounds in ancient Halls; and a very large number of them having received but little injury from time, or the more evil influence of “renovators” and “improvers,” continue in a comparatively primitive state. Several still remain to the descendants of worthies by whom they were erected; unhappily, Brereton is not one of these; but we trust it is in safe hands, and that it is destined to sustain no farther insult or injury from convenience or caprice.

Drawn by C. J. Richardson, on Stone by W. Walton.

CREWE HALL CHESHIRE

CREWE HALL,
CHESHIRE.

rewe Hall—situate about four miles from the town of Nantwich—affords a striking example of the singular changes to which a baronial residence and its dependencies may be subjected in this utilitarian age. Formerly, it occupied the centre of a sequestered valley—now and then, when the wind was southerly, the ti-ri-la of the horn of a distant “stage” to Chester, fell upon the ear of secluded villagers; it was almost the only sound that connected them with the business of actual life. The lord of the mansion and his humble neighbours, dwelling apart from the stir of traffic and the din of commerce, scarcely heard even those “rumours of oppression and deceit” that followed or preceded “unsuccessful or successful war;” content, in their “dreary contiguity of shade,” to be overlooked and unheeded by the busy world about them. The picture at Crewe is now a new one: it is the largest of all the railway stations between Birmingham and Liverpool: the moaning of steam-engines never ceases there; a smoke perpetual gathers over the trees; travellers are rushing backwards and forwards every hour of the day; the noise unnatural is also unceasing, and is audible for miles around, breaking the calm of night in the country, and making the day seem devoted to unhealthy and unpeaceful toil. The contrast between what this pretty hamlet was and is, becomes the more striking because, as yet, the station is at some distance from the gigantic warehouses, engine-room, and coke-stores, which have suddenly grown into existence here. A small inn—new, but not much out of keeping with the ancient aspect of the place—stands beside “the station,” and on the main road which leads from Crewe Hall to Nantwich; the former being distant about a mile, the latter about four miles.

Crewe Hall is the seat of the Right Hon. Hungerford Crewe, third Baron Crewe, who was born in 1812, and succeeded his father in 1835. His grandfather, the first peer, represented Cheshire in parliament from the year 1768 until his elevation to the upper house in 1806. The manor was from a very early period the property of the family of Crue, or Crewe, and some remains of a far more ancient seat are still to be found in the neighbourhood. “About the year 1300, Joan, eldest daughter and co-heiress of the last male heir of the elder branch of the family, married Robert Praers, whose grand-daughter conveyed the manor to Sir Robert Foulshurst.” From this family it was purchased, in 1578, by Sir Christopher Hatton. “A fortunate lawyer” had the means of restoring it to the race to whom it had originally belonged. About the year 1610 Sir Randal Crewe, Serjeant-at-Law, descended from Patrick, a younger brother of Thomas de Crewe, bought it from Sir Christopher’s heirs, and erected, between the years 1615 and 1636, the present mansion. In 1684 the male line became extinct, by the death of John Crewe, Esq.; Anne, his eldest daughter, having married John Offley, Esq., of Madeley Manor, their eldest son, John, subsequently took the name of Crewe in 1708, and, as we have stated, the family was ennobled in 1806.

The hall is a remarkably beautiful structure, and a fine example of the architecture of the period. It is characterised by a distinguished architect as “undoubtedly one of the finest remaining specimens of the English branch of the Italian cinque cento, which may be considered to have arrived at its full state of perfection during the reign of James I.” According to some passages in Fuller, at the period of its erection it must have been classed among the more sumptuous edifices of the kingdom. He says, “Nor must it be forgotten that Sir Randal first brought the model of excellent building into these remote parts—yea, brought London into Cheshire, in the loftiness, sightliness, and pleasantness of their structures.” Although it has undergone many improvements, it has lost but little of its original character. “It consists of two lofty stories, surmounted by a sculptured open parapet, concealing, in some degree, the high roof, from which rise the chimneys, representing detached octagonal columns, with their plinths, bases, and capitals.” The central compartment—the line of the front being broken at each extremity by bow windows—is composed entirely of stone, and is rich in decoration; the arch of the doorway is supported by four fluted Ionic columns, on sculptured pedestals. A dwarf wall and balustrades surround the edifice at its base; and the courtyard, now a prettily laid out lawn and garden, is entered by some finely modelled gates of cast-iron, produced at the foundry of Messrs. Bramah. The

exterior is now undergoing thorough repair under the superintendence of Mr. Edward Blore. Mr. Richardson has supplied us with the appended copy of the decoration, in carved stone, which surmounts the entrance, and also of one of the exterior ornaments, of which we have formed an initial letter.

The interior of this fine old mansion is in the purest possible state; such alterations as time or circumstances may have rendered necessary have been effected with judgment, skill, and taste. “It presents an extraordinary variety of decorated ceilings, enriched plaster-work, and carved wainscot, the design and execution of which are masterly, fully equalling the choicest specimens of the French renaissance of the reign of Francis I.” It contains some bas-reliefs of a very early age, and these, probably, were removed from the still older mansion of the Crewes. It must also have undergone some changes at so late a period as that of Charles II., and these, no doubt, were rendered necessary in consequence of two sieges to which it was subjected during the civil wars. In 1643 it was garrisoned by the Parliamentary troops, who were besieged there by the Royalists under Lord Byron, to whom they yielded in consequence of failure of food and ammunition: “becoming prisoners, stout and valiant soldiers, having quarter granted them.” During the subsequent year the mansion was taken by the troops of the Parliament, and, in like manner, the garrison was permitted to go out in honourable safety.

The hall, which is somewhat low and narrow, is of carved oak; to the left is the dining-room,

of which the accompanying print, in lithotint, affords a satisfactory idea. The screen of richly carved oak is as fresh and sharp as if it had been painted by the artist only yesterday. The fireplace of cut stone is inlaid with marbles of various colours and countries. Opposite the screen is a fine oriel window; and the ceiling is of exquisite design, and remarkably bold in character. A side entrance leads through “the carved parlour” to the upper rooms by a staircase of surpassing beauty, “made gay” by painted monsters of all kinds, bearing blank shields. The several apartments, drawing-rooms, and bedchambers, are furnished with great taste; the library is exceedingly fine and spacious: here, as in other parts of the house, we find treasures of ancient art, and, among them, very choice productions of the modern school of England. At the extremity of the hall is the chapel of the mansion, small in size but of exquisite workmanship, being formed entirely of carved oak, to which Time has given the sombre tint that ever harmonises well with the sacred character of the structure. The chapel contains a painted window by Willement, and two noble paintings by Giordano. The roof is of white and gold, with a single pendant; the gallery is for the servants, and there is a small place at the entrance for dependants.

On the whole, there are in England few fresher or finer examples of the period of its erection.

F. W. Hulme, Delᵗ. on Stone by W. Walton M & N Hanbart Lithogʳˢ

DORFOLD HALL, CHESHIRE

DORFOLD HALL,
CHESHIRE.

orfold Hall, now the seat of Mrs. Tomkinson, was built by Ralph Wilbraham, Esq. in the reign of James I.—according to Lysons, in the year 1616—on the site of a still older mansion. It is situated about one mile from Nantwich; it is a brick building with stone dressings. The staircase and the great chamber are still perfect. The ceiling of the latter room is an extraordinary specimen of decorative plaster-work; the form is of the kind called “waggon-headed.” It is completely covered with a pattern, in bold relief, of the most complicated description, ornamented with shields of arms and various Tudor emblems. Few

such curious specimens of the intricate design of the period can now be found. Over the doorway in the great chamber is a shield of the arms of the Wilton family. Mr. Richardson, in his observations on old English mansions, observes there is every reason to suppose that Dorfold Hall, Crewe Hall, and Aston Hall, near Birmingham, were built in successive order by the same architect; many of the ceilings, fireplaces, staircases, &c. are nearly the same in all the three houses. The early rudeness of the style is seen at Dorfold Hall, its purity in Crewe Hall, and the commencement of its deterioration in Aston Hall.

The front of Dorfold is highly picturesque. The two small lodges seen in front belong to the original construction; but modern domestic arrangements requiring more room than was afforded by the old building, the small offices between the house and the old lodges have been added. If the reader can suppose these away, and a formal balustrade or wall, with gates in the centre, connecting the old lodges in front, he will have the exact appearance of the house in the olden time. All the old buildings were then supplied in front by great courtyards, into which carriages never entered, either from their being of too lumbersome a construction, or with a view to state. It may be hinted that the buildings of the reign of Elizabeth exhibited a considerable portion of the proud, haughty character of the sovereign.

Dorfold, like many of its neighbours in Cheshire, was besieged by the army of the Parliament during the Civil Wars.

The interior of the Hall bears many unequivocal proofs that refined taste prevails over all its arrangements. The new furniture is in keeping with the old carvings; illustrated books, and prints in harmony with the impressive character of the time-honoured structure, are profusely scattered upon the tables and along the walls. Dorfold has fallen into “good hands;” its peculiar beauties and its interesting associations are appreciated and valued; and the spirits of its ancient owners may contemplate with approval the efforts of its existing proprietors—shoots from a noble and honourable stock.

J. D. Harding, Delᵗ M & N Hanhart, Lithogʳˢ.

MORETON HALL, CHESHIRE.

MORETON HALL,
CHESHIRE.

subject of our present delineation—Moreton Hall, is situated amidst the sandy plain of Cheshire, on the Staffordshire border of the county. Its eastern aspect is bounded by that range of hills which extends from Scotland southwards into the centre of England, and which here presents some of its most remarkable features in the high hills called “Mow Cop” and “Cloud,” both being upwards of 1000 feet above the sea-level. The former is surmounted by a ruined tower, and by a singular isolated rock called “The Old Man of Mow.” The latter is an abrupt and dome-shaped termination of a portion of the range to the northward. From the Hall, these hills present objects of interest not devoid of richness, as on this side they are clothed with the dark verdure of the Scotch fir. Moreton Hall—or, “Little Moreton Hall,” as it has been denominated to distinguish it from the residence of the Bellots in the immediate neighbourhood, seated on the plain below—is an ancient timbered house, partly embosomed in trees, but attracting the eye from a distance by the interrupted outline of its numerous roofs, its strange columnar chimneys,—in form resembling rows of prismatic crystals, some of them being rendered more picturesque by the o’er-covering

ivy,—and its black beams and diaper-like patterns distinctly traced on the white ground of the intervening plaster. On a nearer approach we discover the house to be encompassed by a narrow moat, beyond which, and at its south-western corner, is a small conical mound, prettily surmounted by a sycamore tree. The house is approached from the south over a stone arch of antique form, and bearing the Moreton arms on either side. The square Portal, with a sun-dial over it, is adorned with some bold carvings of foliage in oak on the top and sides. These are repeated on the inner opening at the entrance into the Court; each door-post here being crowned by a halbert-bearer in high relief. Over this portal is a lofty range of building, consisting of a number of small wainscotted rooms, and an oaken staircase, which ascends to the long room or gallery, 68 feet in length, running over the top of the whole. This room is lighted from the south by a window its entire length. Like all the other apartments, its walls are lined with wainscot, except the ends, where, at the upper part, are figures and tablets, bearing inscriptions, in stucco. That at the western end represents blind Fortune with her wheel, bearing this motto on the rim: “Qui modo scandit corruet statim.” The inscription is:

“The wheel of Fortune,
Whose rule is ignoraunce.”

That at the opposite extremity, Fate supporting a globe with one hand, and holding a pair of compasses in the other. The inscription:

“The speare of Destiny,
Whose rule is knowledge.”

This apartment has a pitched roof, and an oaken ceiling, open to the rafters. Tradition relates that Queen Elizabeth, while on a progress through Cheshire, danced here, and that Oliver Cromwell made use of it as a council chamber during the Civil Wars.

Having passed through the portal and under the building surmounted by the long room, we enter a small Court, which is one of the most curious parts of this ancient residence. There are seven doors opening

into it; the principal entrance, (that which leads into the hall,) being nearly opposite to the portal. Besides other windows, there are two large gabled bow-windows, which light the Banquetting Hall, the antique form and curious glazing of which excite immediate attention. Indeed, the glazing of most of the windows of the house is very remarkable; the panes being small, and joined by slips of lead, so as to represent many pretty patterns. Upon bands around these windows are the following inscriptions:—“God is al in al thing. This window where made by William Moreton, in the yeare of oure Lorde MDLII.” “Rycharde Dale, Carpēder made theis windows, by the grace of God.”[5]

One of the entrances from the court, on the right, leads into a small chapel, which, by the lapse of time and disuse, has lost much of its sacred character. Almost the only indication of its former purpose is a series of tablets suspended on the walls and bearing inscribed on them, in old English characters, numerous texts of Scripture.

The principal entrance leading into the house is closed by an antique oaken door, having a small wicket in it fastened with a ponderous bolt. This door is rendered still more impregnable by many a coat of whitewash. On passing through it we are ushered into a large wainscotted apartment, having seats attached to the wainscot all round,—the ancient Banquetting Hall. In it we observed a fine old long table of oak. This apartment is lighted by the large windows already described, which contain, like some other windows of the house, small portions of stained glass, consisting of the Moreton and other arms. An inner door in the wainscot leads from the Banquetting Hall into the family apartment, which likewise looks into the court. This room has an ornamented chimney-piece, which is surmounted by arms in stucco, bearing the motto “Honi soit qui mal y pense,” and a large A on each side.

Many of the rooms have floors made of plaster. The fastenings of some of the doors of the upper rooms are curious; they consist of a large iron ring standing out from the middle of the door, through which is passed a bar of wood. This reaches across, and rests on the jambs on either side; a very secure mode of fastening to those who happen to be on the right side.

In the fine old parish church of Astbury, within two miles of Moreton Hall, there is a side chapel, at the east end of the north aisle, of great antiquity, divided between the two manorial proprietors of Little Moreton-cum-Rode. In the east window, which formerly contained some splendid stained glass, there now only remains the arms of one of the Blundevilles, the famous Earls of Chester. The three wide steps which led to the altar, a piscina, on one side, and a closet for relics, on the other, are almost the only remnants of its ancient purposes. At the Moreton end of this side chapel there are three large plain marble slabs over altar tombs, bearing the following inscriptions:—

There is a fine oaken cabinet in Moreton Hall, which, from the labels in old law-hand, has most likely belonged to the above-named Sir William Moreton.

The house belongs to a lady of the Moreton family,—in whose possession it is said to have remained since the 13th century. An adjacent meadow was formerly the mill-pool of the Hall. In front of the house there formerly stood the steps of an old cross, which have been removed. It is probable that they now surround the cross piled up in the garden, and upon which is placed an old sun-dial. Of this cross, or rather, the remains, Mr. Pratt (the artist to whom we are indebted for the illustrations of this subject) made a drawing, which forms our initial letter.

Odd Rode, or Little Moreton-cum-Rode, are noticed as two manors in “The Survey,” and were subsequently granted to Hugh de Mara and Wm. Fitz Nigel. They are described in Domesday, as having inclosures for taking wild deer, and an aerie for hawks. The present divisions of the township are distinguished by the names of Little Moreton and Rode. A branch of the Grahams of Lostock settled in Little Moreton early in the thirteenth century, the third of whom assumed the name of Moreton, and his descendants in the male line continued till the death of Sir W. Moreton in 1763, when his nephew, the Rev. Richard Taylor, took the local name.

In the 12th Henry VIII. Sir W. Brereton made an award between Mr. Wm. Moreton and Mr. Thos. Rode, of Rode, in a dispute “which should sit highest in the churche, and foremost goo in procession:” when he very judiciously awarded between these two sticklers for precedence “That whyther of the said gentylmen may dispende in landes by title of enheritaunce 10 marks or above more than the other, that he shall have the pre-eminence in sitting in the churche, and in gooing in procession, with all other lyke causes in that behalf.”

We fear we must ascribe the rumoured subterranean passages of Moreton Hall, running under the moat to chambers hid in the mound, to no higher authority than that wild fancy which thus gilds, to its own delight, antique and curious buildings in all parts of our country—that native spirit of poetry,—

“One with our feelings and our powers,
And rather part of us, than ours,”

without a sprinkling of which, this world in all its teeming beauty might be too much of a dull reality.

F W Hulme Delᵗ. on Stone by W Walton M & N Hanhart Lithogʳˢ

PLACE HOUSE,
CORNWALL.

lace House, formerly called the “Plâs” (a corruption of “Palace”), from its having the reputation of being once the residence of the Earls of Cornwall, stands on elevated ground in the centre of Fowey, a seaport-town on the southern coast of Cornwall. It is a fine pile of building, a large portion being very ancient, though the exact date cannot be ascertained with certainty; there is, however, abundant evidence to prove that many parts of it existed so far back as 1455,[6] and were probably built about that time; a period to which also is assigned the re-erection of the church close by, a handsome and lofty fabric of the perpendicular English style of architecture: the two buildings are composed of similar materials.

The ancestors of its present possessor, J. T. Treffry, Esq., have occupied Place House, without intermission, as we believe, for many centuries past, and exercised considerable influence in Fowey, which was formerly a place of far greater importance than it is now. The townsmen acquired wealth and fame by deeds of war during the reigns of Edward I., Edward III., and Henry V., and they furnished more ships to the fleet of Edward III. before Calais than any other port in England. Among the gallant men who fought and won at Cressy, we find Sir John Treffry, to whom, chroniclers say, the French king surrendered himself on the field. His heroism at Poictiers is commemorated on a stately monument in Fowey Church, which bears the following inscription:—“The atchievements of John Treffry, who, at the battle of Poictiers, fought under Edward the Black Prince, and took the French royal standard; for it he was made a Knight-Banneret by King Edward III. on the field of battle.” In addition to this title, Sir John was rewarded for his valour with an honourable augmentation to his arms; viz. supporters, and as a quartering, the fleur-de-lis from the arms of France, which are still to be seen painted on the windows of Place House.

The French frequently attacked Fowey, and, according to Leland, “most notably about 1457, when the wife of Thomas Treffry, with her servants, repelled their enemies

out of the house, in her husband’s absence; whereupon he builded a right faire and strong embateled tower in his house, and embateled it to the walls of his house,—in a manner made it a castle, and unto this day it is the glorie of the towne building of Foey.” This tower we have engraved. John Treffry, most probably a son of the aforesaid Thomas, was high-sheriff of Cornwall in 1482; he left issue several sons, of whom three are portrayed on a large tomb in the adjoining church: one of these, Sir John, was a person of considerable eminence, and, with his brother William, was attainted by Richard III., but afterwards restored by act of parliament to their estates, in the reign of Henry VII. Thomas Treffry, member for the county during the first two parliaments of Philip and Mary, was compelled to leave the country for having opposed the marriage of Mary with the Spanish monarch.

From this last period to the present time we find no names of note in the genealogy of the family; but the estate appears to have been handed down, from one generation to another, in almost unbroken succession; the various members in possession holding a

distinguished position among the old county gentry.

Place House contains numerous apartments, many of which are highly interesting. In the hall is a richly carved ceiling of oak, and on the walls are emblazoned the arms of Edward VI. and the first Earl of Bedford, with quarterings, all well executed; also the arms of Treffry and Tresilhneys, quartered in Queen Elizabeth’s time. In several other parts are likewise the family arms, quartered according to the various periods to which each is assigned. One of the ancient gateways is indicated in the appended cut.

G Cattermole, Delᵗ on Stone by W Walton M & N Hanhart, Lithogʳˢ

NAWORTH,
CUMBERLAND.

AWORTH is one of the few remaining Castles of the Border rescued from the grasp of Time by the noble descendants of its ancient lords. It is the property of the Earl of Carlisle—the representative of “centuries of Howards”—who, according to Sir Walter Scott, “deserves high praise for the attention bestowed in maintaining the curious and venerable pile in its former state.” While, however, his Lordship has taken especial care to arrest the progress of Time over the old walls, he has been wisely cautious to prevent “repairs” from being unseemly patches upon the honoured face of “hore antiquitie.” Its condition is sufficiently dilapidated to carry instant conviction of its age; but nothing out of keeping with the solemn dignity derived from the weight of years is permitted to appear. To its early and existing condition his lordship has himself made happy reference, in some descriptive lines to this—the famous stronghold of generations of his ancestry:

“O Naworth! monument of rudest times,
When Science slept entombed, and o’er the waste,
The heath-grown crag, and quivering moss, of old
Stalk’d unremitted war!
* * * * * *
If now the peasant, scar’d no more at eve
By distant beacons, and compelled to house
His trembling flocks, his children and his all,
Beneath his craggy roof, securely sleeps;
Yet all around thee is not changed; thy towers,
Unmodernised by tasteless Art, remain
Still unsubdued by Time.”

The Castle stands on “a pleasant eminence” at the head of the Vale of Lanercost, or St. Mary’s Holme, and not far from the beautiful and picturesque ruins of Lanercost Priory, which cover the dust of the ancient Lords of Naworth,[7] and many other gallant chieftains who formerly held sway over the wild Border.

The approach to it is peculiarly striking. “The front is strengthened by a curtain wall, and a gateway embrasured, and the corners of the chief building on this side by lofty square towers.” On the north, it impends over the river Irthing, at a great height; the banks shagged with wood. “The whole house,” says Pennant, “is a true specimen of ancient inconvenience, of magnificence and littleness; the rooms numerous, accessible by sixteen staircases, with most frequent and sudden ascents and descents into the bargain; besides a long narrow gallery.” “The idea of a comfortable dwelling,” according to a more recent writer, “was, indeed, entirely excluded; the whole internal contrivance seeming only calculated to keep an enemy out, or elude his vigilance should he happen to get in; its hiding-holes are numerous; but it seems probable that many of its close recesses are even now unknown.”

We have no certain information as to the period of its erection. Tradition reports it to have been built by the Dacres; but “by which of them has not been ascertained.” The earliest mention of it occurs in the reign of Edward the Third, when “Ranulphus Dacre, who had married the heiress of the Multons, obtained a license to fortify and convert his mansion here into a castle.” In the family of the Dacres it continued until the year 1569, when, by the death of the last heir-male of the family, it passed to the Howards—by the marriage of William Howard, third son of Thomas Duke of Norfolk, with the Lady Elizabeth, sister of the last Lord Dacre.[8] When visited by Camden, in 1607, it was under repair; according to Bishop Gibson, it was “again repaired and made fit for the reception of a family by the Right Hon. Charles Howard, great-grandson to the Lord William.” By its present noble owner, the Earl of Carlisle, it is, as we have intimated, preserved from farther injury at the hand of Time,—and is the occasional residence of some members of his family, who resort to it in “the sporting season.”

The romantic fame of Naworth is derived from Lord William Howard—“belted Will Howard,” one of the heroes of Border Minstrelsy. The commencement of his chivalrous career was the first chapter to a volume of romance. He was the third son of the fourth Duke of Norfolk, and grandson of the famous Earl of Surrey—

“Who has not heard of Surrey’s fame?”

His father lost his title, his estates, and his head, on Tower Hill; and bequeathed him to the care of his elder brother, as “having nothing to feed the cormorants withal.” He was married, in 1577, to the Lady Elizabeth Dacre, the ages of both together being short of eight-and-twenty. During the whole of the reign of Elizabeth, however, he and the several other members of his family were cruelly oppressed—subjected repeatedly to charges of treason, and kept in a state of poverty “very grievous to bear.” On the accession of James the Second their prospects brightened. Lord William was received into special favour; and, about the year 1603, turned his attention to the repairs of his Baronial Castle of Naworth—removing thither various paintings and articles of furniture from mansions still more neglected or dilapidated. Almost immediately afterwards he made it his permanent residence, having been—probably in the year 1605—appointed to the office of the King’s Lieutenant and Warden of the Marches.[9] The onerous and difficult duties imposed upon him he discharged, it would seem, with equal fearlessness and severity: so that, to quote from Fuller, “when in their greatest height, the moss-troopers had two fierce enemies—the laws of the land and Lord William Howard of Naworth, who sent many of them to Carlisle, that place where the officer always does his work by daylight.”

Although formidable to his enemies, the Lord William was fervent and faithful to his friends. His attachment to his Lady (whom he survived but a year) was “of the truest affection, esteem, and friendship;” and his love of letters, and the refined pursuits of leisure and ease, rendered him remarkable, even among the intellectual men of the period. To the courage of the soldier, “Belted Will” added the courtesy of the scholar, and, although “the Tamer of the wild Border” has been often pictured as a ferocious man-slayer, incapable of pity, history does him only justice in describing him as a model of chivalry, when chivalry was the leading characteristic of the age. He died in 1640, leaving issue by the “Lady Bessie” ten sons and five daughters—the eldest being the ancestor of the Earls of Carlisle.

This Border Castle—the Caste of “Bauld Wyllie”—remains then, as we have said, one of the least impaired and most interesting of the feudal dwellings of Ancient England. It is nearly quadrangular in form; of prodigious strength; and many indications of its early defences yet remain. The only access to it is from the south, on which side it lies low, and presents its principal front, “extending two hundred and eight feet.” Formerly (according to a MS. dated 1675), “it was surrounded by pleasant woods and gardens; ground full of fallow dear, feeding all somer time,—brave venison pasties; with great store of reed dear on the mountains, and white wild cattle, with black eares only, on the moores; and black heath-cockes, and brown more-cockes, and their pootes.”

The interior is even more primitive in character than the exterior. “The long Gallery” (which Mr. Cattermole has pictured), “extending one hundred and sixteen feet in length, is filled with many curious and interesting antiquities; among them are said to be the saddle, gloves, and belt of “Belted Will Howard.” It contains also various portraits of Members of the heroic race. The old windows are narrow and grated,

and the doors almost wholly cased with iron, moving on ponderous hinges, and with massive bolts, which ‘make a harsh and horrid clang that echoes fearfully through the winding passages.’ ‘The Great Hall,’ measuring 70 feet by 24, is lighted by a range of windows, placed high up near the ceiling, and a large oriel window at the southern end. The ceiling is formed of wood panels in large squares, in number above one hundred, on which are painted portraits of the Saxon Kings, and the Sovereigns of

G. Cattermole, Del Stone by W. Walton M & N Hanhart, Lithogʳˢ

NAWORTH, CUMBERLAND.

England, down to the Union of the Houses of York and Lancaster, with many other noble personages; ‘they have, however, no recommendation but their antiquity.’ The Minstrels’ Gallery has been removed. In the Dining Hall are two portraits of the Lady of Lord William—one in her fourteenth year, just after she became a bride; the other when her years were three-score ten and three. The Chapel retains much of its original condition—a pulpit and stall of oak, and a painted window, exhibiting a Knight and Dame kneeling, being among the most remarkable objects that yet endure. The apartments of Lord William Howard are, however, those to which the chief interest is attached. They are entered at the east end of the long Gallery. The approach to them was secured by iron-bound doors, several in succession, containing numerous huge bolts, running far into the stone work. The strongest defends a narrow winding staircase, up which only one person can pass; a short dark passage leads to the bed-chamber; (pictured on the opposite page) in which the ‘original furniture’ is preserved.”[10] Among the rest, the plain and simple bed on which, it is said, belted Will slept. Above the stone mantel-piece are three sculptured shields with the arms of the Dacres. Above the bed-room, reached by the narrow stone staircase referred to, are the Library and the Oratory of Lord William.

The Library, here pictured, still contains some curious MSS., with a large collection

of rare old books, many of them having the autograph of Lord William. “Not a book has been added,” according to Pennant, “since his days.” The windows of this apartment are narrow, and are reached by an ascent of three steps:—“such was the caution of the times.” The ceiling is richly carved; the corbels and bosses being embellished with armorial devices; the skirting of the room is of oak, “black from age.” Lord William was—as he is styled by Camden, “a lover of the venerable antiquities,” and in this apartment much of his leisure time was spent.[11]

The other Chamber which tradition closely associates with the memory of the Lord William, is “the Oratory,” situated near the Library. “It is fitted up with plain

wainscot, painted red, and ornamented with escallop-shells and cross-crosslets—armorial devices of the Dacres and the Howards. There are also some fragments of what is supposed to have been the rich screen of the Rood-loft of Lanercost Priory Church, consisting of carved ornaments of pierced work, in wood, richly painted and gilt, nailed up on the walls of the apartment.” The Confessional is a small dark closet within the Oratory, unfurnished. The dungeons of the Castle consist of “four dens, under the great square Tower at the south-west angle.” They “instil horror into the beholder:” there is no chink or crevice for the admission of light; and, in one of the cells, a ring, to which prisoners were chained, is still appended to the wall. In a note to “The Legend of Montrose,” Sir Walter Scott states that a private staircase led to these dungeons from the apartment of Lord William. The author of a little book, “A Guide to Naworth and Lanercost,” from which we have borrowed some of our details, sought for this passage in vain.

Few of the ancient Baronial dwellings of our English nobles possess a deeper interest than that of Naworth. It supplies a striking and emphatic illustration of the rude and lawless period of its erection, when security was the object chiefly aimed at; but mingling adornment with strength, and being a refinement upon the cheerless and gloomy structures of the Anglo-Norman chiefs; “expanding into a mixture of the castle and the mansion;” and marking the splendour of our early nobles, “before they exchanged the hospitable magnificence of a life spent among a numerous tenantry, for the uncertain honours of Court attendance, and the equivocal rewards of ministerial favour.” To borrow an eloquent passage from the “Border Antiquities:” “The vast and solid mansions of our ancient nobility were like their characters—greatness without elegance; strength without refinement; but lofty, firm, and commanding.”

Day & Son, Lithʳˢ to The Queen.

HADDON HALL,
DERBYSHIRE.

ADDON is, in the Domesday Book, mentioned as a berewick in the manor of Bakewell; it was granted by the Conqueror to his natural son, William Peverel, and it is not improbable that some parts of the present building were constructed about that time. It remained in the possession of the Peverels two generations only, and was then granted by one of the family to a retainer named Avenell,[12] on the tenure of knight’s service. In the reign of Richard I., or that of John, it again changed owners, passing by the marriage of the coheiresses of the Avenells into the families of Vernon and Bassett. “The heiress of Vernon, in the reign of Henry III., married Gilbert le Francis, whose son Richard took the name of Vernon, and died, in 1296, at the age of twenty-nine. This Richard was common ancestor to the Vernons of Haddon, Stokesay, Hodnet, Sudbury, &c.” Haddon continued a joint possession of these two families until in or before the reign of Henry VI., when the whole became vested in the Vernons, who had purchased Bassett’s moiety.

Haddon was in the possession of the Vernons more than three centuries and a half, and several of its lords held situations of great interest and responsibility. Sir Richard Vernon is mentioned as Speaker of the Parliament held at Leicester in 1425; and his son, also named Richard, was the last person who held for life the important office of Constable of England. The grandson of the latter, Sir Henry Vernon, had charge of the education of Prince Arthur, son of Henry VIII., and is said to have had his royal pupil residing with him for some time at Haddon. Sir George Vernon, the last of this branch of the family, was distinguished for his magnificent style of living, the number of his retinue, and unbounded hospitality, which procured for him the appellation of “King of the Peak.” His possessions amounted to thirty manors, all of which on his death, in 1565, descended to his two daughters, Margaret and Dorothy. On a division of the property, the Derbyshire estates were assigned to Dorothy, the younger of the coheiresses, who married Sir John Manners, second son of Thomas first earl of Rutland, ancestor of the present noble owner, his Grace the Duke of Rutland.

Haddon was a favourite place of residence of the Earls of Rutland, and also of the first Duke, who was raised to that dignity by Queen Anne, in 1703, and who, during the life of his father, was summoned to Parliament by writ, as Baron Manners of Haddon.[13]

The first Duke resided here in great state, maintaining seven score servants, and keeping Christmas with open house, as his father had done before him, “in the true style of old English hospitality.”[14] In the reign of Queen Anne, the family finally quitted Haddon as a place of residence, and in 1760 the old hall was despoiled of nearly all its moveable furniture, which was taken to Belvoir Castle, where it still remains. Since that period Haddon has been carefully preserved, and, except on one or two occasions, when the festivities of the place were for a moment revived, a solemn stillness has reigned throughout its precincts, broken only by the tread of the occasional visitor.

The Hall occupies a situation of extreme beauty, being placed on a bold shelving

mass of limestone, at the base of which runs the river Wye. It is surrounded by well-grown woods, and offers an almost infinite variety of rich subjects for the artist. It has much of the appearance of an old fortress, but is in reality little fitted for defence; the greater part of the present building having been erected by the Vernons and Manners in times when moral force and law had happily taken the place of the tenure by which property was maintained in earlier ages. The buildings cover a considerable space of ground, and are arranged in the form of a double square, enclosing two quadrangular courts. The entrance-tower, at the north-west corner, is one of the more ancient parts of the structure. The entrance is by a large arched gateway, leading to a flight of old dilapidated steps, on ascending which the visitor finds himself in the first great court.

The interior of the building has been so well and so minutely described by Mr. King, in the “Archæologia,” that we will transfer some of his remarks to our pages. Beginning, then, with this tower, he says:—

“The approach is by a steep hill, which a horse can scarcely climb, and which continues quite to the great arched gateway that forms the entrance: this is directly under a high tower, and seems originally to have had double gates. From hence you pass into a large square court, entirely surrounded by the apartments, and paved with flat stones. But you ascend it, at the corner, by a flight of angular steps, just within the gate, in such a manner that it is impossible to have admittance otherwise than on foot, and no horse or carriage could ever approach the door of the house. After crossing this court, you come to a second flight of steps, which lead up directly to the great porch, under a small tower, on passing through which you find yourself behind the screen of the Great Hall,—a room that was originally considered as the public dining-room for the lord and his guests, and, indeed, after them, for the whole family; for, in tracing the ancient apartments, there appears manifestly to have been none besides of sufficient magnitude for either the one purpose or the other.” From this hall a flight of steps leads to the upper chambers.

Over the doorway of the porch of the Great Hall are the arms of the Vernons and of Fulco de Pembridge, Lord of Tonge, in Shropshire; the latter Sir Richard Vernon was entitled to in right of his wife, who was the daughter and sole heiress of Sir Fulk de Pembridge. From this circumstance, it has been conjectured that he built this part of the house.

The provision made in the adjoining offices for the convenience and attendance of the several servants of the household is very curious. On the left hand of the great door of entrance, directly behind the hall screen, are four large doorways, with high pointed arches, extending, in a row, the whole length of the hall, and facing the upper end. The first of these still retains its ancient door of strong oak, with a little wicket in the middle, just big enough to put a trencher in or out, and was clearly the butler’s station; for the room within still retains a vast old chest of oak, with divisions for bread, a large old cupboard for cheese, and a number of shelves for butter. “Besides, out of this apartment (which is itself spacious, and separate from the rest of the house) is a passage, down steps, to a large vaulted room, arched with stone, and supported by pillars, like the crypt of a church, which, though very light and airy, was cool, and manifestly designed for the beer-cellar, there being still remains of a raised low benching of stonework all round, sufficient to hold a prodigious number of casks, and a neat stone drain all along before it, underneath, to carry away any droppings. Through this great arched room is also another passage to what was obviously the brewhouse and bakehouse, where are remains of places for vast coppers, coolers, and ovens. Near adjoining are store-rooms for corn and malt, and a communication from thence with the outside of the building for bringing in of stores. But in other respects this whole suite of offices was quite unconnected with the other offices, and had no kind of communication either with them or with the rest of the mansion, except by the door of entrance near the hall, in which is the little wicket.”

The second pointed arch—next to the buttery, and facing the hall in like manner—is the entrance of a long, narrow passage, leading, with a continued descent, to the great kitchen, and having in the midway an half door, or hatch, with a broad shelf on the top of it, whereupon to place dishes; to which, and no further, the servants in waiting were to have access. “The next, being the third of the great pointed arches, behind the screen, at the bottom of the hall, opens merely into one very small vaulted room, unconnected with any other: that was clearly the wine-cellar; which (according to the frugality and ideas of early times, when wine was considered merely as a cordial and dram) needed to be but small.” The fourth great arch is at the bottom of a great steep staircase, quite distinct from the grand staircase of the house, and leading up to a prodigious variety of small apartments, which seem to have been designed for the reception of guests and numerous retainers, there being others, of a still inferior sort, in other parts of the house, for servants; especially in the range of building opposite to the great door of the hall.

Such was the use of these four great arches behind the hall screen, and we may with great propriety conceive, that they were the stations of the butler, the clerk of the kitchen, the cellarer, and the chamberlain, or steward of the household, of this great family. “The provision for the officers and attendants being so great, we shall yet find here, as in all very ancient mansions, that the apartments of the lord of the castle (or what we should now call the state apartments) were very few in number, and little adequate to the rest, according to our modern and more refined ideas.”

The great hall of entrance, just described, was the only large apartment for dining. At the upper end remains the raised floor, where the table for the lord and his principal guests was placed; and along one side of the hall, and also over the screen at the lower end, is a gallery, supported by pillars; from whence (when the lord and his company had retired to the apartments above, and the inferior members of the family had supplied their places) the country guests and their hospitable hosts occasionally beheld the revels.

The Great Hall still contains the old oaken table, at which the lord feasted his more

favoured guests. The Minstrel’s Gallery is carved and panelled, and ornamented in the true old fashion, with the antlers of stags—memorials of the chase. There is no ceiling; the roof and rafters are exposed to view; the fireplaces are large; and the walls are wainscoted all round, to a certain height. From this great hall, at the upper end, in the corner on the left hand, are two passages; one opening upon the terraces in the garden, inviting the guests to refresh themselves; and the other leading to the grand staircase, and the principal apartments above.

“This staircase is formed of large blocks of stone; which can hardly be said to be

either jointed or joined, and from the top of it, on the right, you enter what we should now call a drawing-room, hung with arras, and having a large bow-window as the only light to it, at one corner, and a little door at the other, behind the arras, leading into the gallery just mentioned, which goes round two sides of the hall. This room, however, (whatever name we might now give it) was called the Dining-room, and probably had that appellation because the lord of the mansion did, even originally, on some particular occasions, here entertain a few of his visitors of high dignity and rank; and because afterwards, in latter ages, it became more commonly appropriated to that purpose, when greater distinction was ordinarily made between the guests.”

This room is low; the ceiling is divided by five beams, which were once gilt and otherwise decorated. It has a rich cornice, and the walls are covered with oak wainscoting. It contains a fine oriel window, decorated with arms, emblems of the chase, and royal portraits, said to be those of Henry VII. and his queen, whose son, Prince Arthur, as we have seen, was partly educated here. In this room is a portrait of the king’s jester, “Will Somers.” Under a carving of the royal arms is the following pithy exhortation, in old English, Drede God and honor the King; a right good old-fashioned mode of exhibiting moral precepts, a custom more honored in the observance than the breach.

“On the left of the passage, at the head of the great stairs, you ascend again by five or six enormous semicircular steps (framed of solid masses of timber, as ill joined as the stone steps), to a fine long gallery, 110 feet in length, and 17 in width, which is now all wainscoted, in a curious manner, with fine oak, the frieze being adorned with boars’ heads, thistles, and roses. This wainscoting, though modern in comparison with the antiquity of the house, is yet become in these days very ancient, and conveys an excellent idea of the magnificence of the intermediate ages. There is a great square recess in the midst of the gallery, of fifteen feet by twelve, besides several great bow-windows; and the whole puts one very much in mind of the galleries in the old palaces in France, so often mentioned by Sully and the French historians.”

This magnificent Gallery, or ball-room, is said to have been erected in the reign of Queen Elizabeth. It occupies the whole south side of the inner court. Its narrowness seriously impairs what is otherwise a very beautiful design: its height is fifteen feet. The floor is of oak, respecting which tradition gives a curious story; to the effect

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

that the boards were all furnished from one tree that grew in the garden, and that its roots were cut into the circular steps by which entrance to the gallery is gained. The windows contain the armorial devices of the successive owners, and those of Prince Arthur. The ceiling is extremely beautiful, graceful, and elegant, in a high degree,

and is a fair specimen of an age that, more than any other, produced wonderful designs of this description. The architecture of Elizabeth and James had nothing to shew more beautiful than its ceilings. From this gallery a short passage leads to a room named by Mr. King “My lord’s parlour,” but on insufficient authority. From this apartment there is a passage, through ill-framed doors, to a flight of stairs, leading down to the principal terrace of the garden.

The “garden at Haddon” has been time out of mind a treasure-store of the English landscape-painter; one of the most favourite “bits” being “Dorothy Vernon’s walk,” with the door out of which tradition describes her as escaping to meet her lover, Sir John Manners, with whom she eloped.[15]

“All these rooms, except the gallery, were hung with loose arras, a great part of which still remains; and the doors were concealed everywhere behind the hangings, so that the tapestry was to be lifted up to pass in or out; only for convenience there were great iron hooks (many of which are still in their places), by means whereof it might occasionally be held back. Few of these doors fit close, and wooden bolts, rude bars, and iron hasps, are in general their best and only fastenings. Besides the gallery, the dining-room, and these three apartments, there were only two others, and those but small ones, which could be said to belong at all to the principal suite. One of these apartments, however, is very remarkable; having an odd cornice, with a deep quadruple frieze, three or four feet in depth, if not more, formed of plaster, and adorned with a running foliage of leaves and flowers, in four compartments, like bands, or fillets, one above another. The room is hung with arras, as the others are; but from a quaint sort of neatness appearing in the whole of it more than in them (we quote again from Mr. King), “I am much inclined to call it my lady’s chamber. There is, behind the tapestry, the door I mentioned, leading to a steep flight of narrow steps, which descend into the great court, not far from the arch belonging to the chapel, and which gave her an opportunity of going thither rather a nearer way than the rest of the family, and without crossing so much of the great court. All the rest of this great pile of building (containing another large square court besides that we have been speaking of) is filled with small trifling apartments, not one of which deserves description, but which formed a labyrinth almost as inextricable as that of Crete, and which could be of no use but to lodge a vast host of dependents, retainers, and servants.”

The Chapel is placed at the south-west corner of the Hall. It is of great antiquity, and

contains many objects of interest, although it is of comparatively small size. It has a body and two aisles: the pulpit and reading-desk are on the left side. The pews of the family are high, of rich old oak, which was originally gilt. There is, also, a rich Gothic window, which formerly contained much painted glass, of old date, part of which was stolen some years ago. The roof was reconstructed in 1624 by Sir George Manners. Part of the chapel is exhibited in the appended engraving.

One remark only we have space to add. The evil hands that have fallen upon so many of our national edifices have spared Haddon; the ruthless improvements of “classic Goths” have been forbidden here. This we owe to the noble house of Rutland: who claim, therefore, a debt of gratitude alike from those who love nature and those who venerate antiquity.

W. Walton, Del et lith. M & N Hanhart Lithogʳˢ.

HARDWICK HALL, DERBYSHIRE.

HARDWICKE HALL,
DERBYSHIRE.

ardwicke Hall is situated about six miles from Chesterfield, and the same distance from Mansfield, in the picturesque and beautiful shire of Derby. The name does not occur in Domesday Book: Hardwicke, at the Conquest, formed part of the manor of Steinesby, which was granted to Roger of Poictou; by King John it was transferred to Andrew De Beauchamp; in 1258 it passed to William De Steynesby, whose grandson, John, died possessed of it in 1330. Soon afterwards, the family De Hardwicke were here established, and remained in possession for six generations: their pedigree closes with Elizabeth Hardwicke, the wife of Sir William Cavendish; and Hardwicke, with its princely domains, has continued in the possession of her lineal descendants, through the noble family of Cavendish, to their representative, the owner of the Mansion and Estate, His Grace the Duke of Devonshire and Baron Cavendish of Hardwicke.

Previous to the erection of the present Hall, a still more magnificent structure existed here; but, from vestiges of the ruins which yet remain, its date is not placed at a very remote period from that of the building we describe, which was erected between the years 1590 and 1597, by the lady of Sir William Cavendish, then the relict of the Earl of Shrewsbury.[16] The character of the founder is thus recorded by Lodge:—“She was a woman of a masculine understanding and conduct; proud, furious, selfish, and unfeeling; who lived to a great old age, and died immensely rich, without a friend;” Fuller writes of her as “a woman of undaunted spirit;” while her monument, in All Saints’ Church, Derby, describes her as “beautiful and discreet.” She was the wife of four husbands—but had issue by only one, the founder of the famous family of Cavendish.

Hardwicke has, for a very long period, derived romantic interest from the popular belief that it was one of the prisons of the lovely and persecuted Queen of Scots. It is, however, certain, that although for a time in the custody of the Earl of Shrewsbury, she never was immured at Hardwicke, her prison having been one of the Earl’s “strong castles at Sheffield;” where she passed twelve weary years in “melyncholy and grefe,” in “sickness and despair”—the victim of unceasing suspicion, “in the hopeless monotony of sedentary employment, with an impaired constitution and a restless mind”—treated with so much severity by the Countess as to extort from the more humane Earl, in one of his petitions to the Queen, a complaint against his “wyked and malysious wyfe.”[17]

The House, which has undergone no material change since the time of its erection, according to Lysons, “exhibits a most complete specimen of the domestic architecture which prevailed among the higher ranks during the reign of Queen Elizabeth;” and it remains in its original state, “with little or no alteration.” The Poet Gray, adopting the popular error, pictures it as so primitive in character that “one might think the Scottish Mary was but just walked down into the Park;” and Mrs. Radcliffe, who described the mansion at some length in her “Tour to the Lakes,” (1795,) notes the “proud, yet gentle and melancholy look of the Queen as she slowly passed up the Hall,” and contrasts it with the “somewhat obsequious, yet jealous and vigilant air” of my Lord Keeper Shrewsbury.

The name of the Architect who designed and superintended Hardwicke is unknown; “Gerard Christmas, John Thorpe, and the Smithsons, father and son, who built Wollaton Hall, in the vicinity, present a probable claim to this monument of their professional talents.” It is built of stone, and round the top is a parapet of open work, in which frequently appear the initials of the founder—E. S.—“memorials of the proud Dame’s vanity.” The principal front comprehends two hundred and eight feet in extent.

The structure crowns the summit of a small hill, that commands an extensive view of the adjacent country, and overlooks a valley of vast extent, which combines every component of the best English scenery. The eminence rises somewhat abruptly but very gracefully, and terminates in a terrace, from whence the prospect is inconceivably grand and beautiful. Looking over the tops of magnificently grown oaks and yews, and other forest trees, with which the slopes, immediately beneath, are thickly studded, the eye ranges over a wide-spreading landscape, to which Nature has been abundantly bountiful; and the whole is bounded by the far-famed Peak.

The mansion is of great extent—massive and firm in construction; solemn and stately grandeur is the great characteristic of the time-honoured pile; its general form is square; at each corner is a high tower, square also. The exterior retains all the peculiar features of the age of its erection. The Entrance Hall is large, and fitted up with oak wainscotting and rich old tapestry—said to have been woven from the designs of Rubens. It contains a statue, by Westmacott, of the unhappy Queen whose melancholy history is so intimately associated with that of the founder of Hardwicke. The Minstrel Gallery is still there, recalling the days of its ancient hospitality and festivity. The litho-tint print, from a drawing by Mr. Lake Price, exhibits one of the finest of the apartments—the State-room, or Presence-chamber; the walls are partly of wainscot and partly hung with tapestry—an adornment with which the rooms at Hardwicke are profusely enriched. The cabinets, chairs, and other articles of furniture, are in admirable keeping; and among them is a large table of the time of Elizabeth, curiously inlaid with an odd mixture of heraldic badges, musical instruments, and games. The State-bed shown in the centre of the picture was brought hither from Chatsworth; it is never used, but is kept “for show.” The Picture Gallery extends in length 169 feet; and is filled with family portraits. Scattered about this Gallery are

curious specimens of ancient furniture. Among them is an interesting couch, which is said to have belonged to the old House. It is of plain but elegant design: the cushions being elaborately wrought in silk and gold on velvet, that may almost be said to be falling to pieces with age.

The passages and two principal staircases are broad, massive, and commodious; here, as in all other parts of the mansion, every available space is covered with tapestry, pictures, rich carved work, or subjects in relief. The house may, indeed, be likened to a richly illuminated black-letter history; every wall tells a story, and every piece of furniture suggests one,—all being of a quaint but impressive character, and in happy unison with each other and with the genius of the place. On the whole, perhaps this famous house is, in all parts and points, as deeply interesting a relic of the olden time as can be found in England. It is a treasury of antiquities, where, in a brief hour or two, a rich store of knowledge may be gained of the size, general character, furniture, and appointments of an English mansion of the seventeenth century.

The old Hall, as we have observed, stands very close to that which, for the purpose

of distinction, is styled “the new;” although much of it remains in a tolerably safe condition, it is somewhat perilous to explore the interior. A correct idea may be formed of its present state from the annexed engraving. Some of its windows still contain the old rough glass of diamond shapes set in lead; but, for the most part, they offer free ingress and egress to the winds, and succour to the ivy that twists luxuriantly about the mouldering mullions and broken walls, reaching above the ruins of even the highest summits. The only specimens of its interior decorations now existing, are

subjects in relief over the fire-places, and the most remarkable of these is in a large room on the upper floor. We engrave one of them, taken from a lower room.

The gratitude of all who venerate Antiquity, and enjoy the refreshment derived from ancient Art, is due to his Grace the Duke of Devonshire, who freely permits the visits of those who desire to examine the two structures—the old and the new. Unceasing care and vigilance are exercised to keep them in order, and prevent as far as possible the inroads of Time. This object is not achieved without great expense; expense incurred entirely to give pleasure to others—the thousands by whom the seat of his ancestors is examined every summer. We deeply lament to add, that utterly unworthy persons occasionally obtain access to the apartments—that fellows who richly merit a flogging at the cart’s tail, have defaced many of the decorations by scrawling upon them, not only their own degraded names, but words even more deserving the epithet “infamous.”

F.W. Hulme, Delᵗ. on Stone by W. Walton. M & N Hanhart, Lithogʳˢ.

FORD HOUSE, DEVONSHIRE.

FORDE HOUSE,
DEVONSHIRE.

orde House, surrounded by lofty hills, rests in the centre of a lawn of considerable extent, having at its eastern extremity a beautiful sheet of water, distant about a mile from the town of Newton Abbott, at the foot of Milbourne Down. Although this ancient and celebrated mansion is not externally profuse in architectural decoration, it affords an accurate idea of the residences of the gentry in the reign of James I. Its elevation exhibits great simplicity, with a tendency to decoration, shewing an immense improvement in the style of building, compared with the heavy and incongruous houses of the previous era; its principal front having a centre with two wings, the central

projection being ornamented with a cupola or belltower; whilst numerous large windows, having their compartments divided by stone mullions, give to it a character which time has not altered.

It was erected in the year 1610 by Sir Richard Reynell, Knt., second son of Richard Reynell, Esq., of East Ogwell. Risdon, in his “Survey of Devon,” gives the following account of Forde:—“Within the parish of Wolborough is Forde, fairly seated, which, at the surrender of such structures, was purchased by Taverick, whose heirs were wedded to Drew, Marshall, and Hayman; they alienated their estate to Sir Richard Reynell, Knt., a flourishing branch of the house of Ogwell, who has beautified the old buildings with new edifices; and having issue one only daughter, Jane, wedded her according to her worth, to Sir William Waller, Knt., descended from an ancient family in Kent.” The daughter and heiress of Sir W. Waller, Margaret, married Sir W. Courtenay, a direct ancestor of the present Earl of Devon, a nobleman universally beloved; since which period it has continued in the Courtenay family.

Respecting the interior of the house, although much has been done to render it adapted to modern habits, still much remains of its former state to give a correct idea of byegone days; its magnificent ceilings, its oaken staircase, its panelled hall, and massive doors, tend to recall those times when grandeur and security were more considered than the finished decorations of the present day. The Hall is entered by a low stone porch, which forms the central projection of the house; it is thirty feet long and twenty feet wide. It is lighted by two large mullion-latticed windows, having inserted in stained glass the arms of Reynell, Waller, and Courtenay. It is wainscoted throughout, and the fireplace stands in relief, having for its base two doric columns, which support a superstructure of smaller

columns, with elaborate decoration. The ceiling is formed into a variety of geometrical figures, and ornamented with numerous allegorical subjects, whilst a deep frieze, consisting of winged horses in plaster, meet the wainscoted sides of the Hall.

A finely carved oaken staircase, of considerable width, the balustrades of which are massive and highly decorated, leads to the Great Drawing-room, and to King Charles’ Bed-chamber. Its disused bed and antique chairs add to the interest of the place, and remind the visitor of its former illustrious occupant. It may be justly said of Forde, that it has lost little of its pristine interest by the modern alterations it has undergone.

For many years past Forde has had various occupiers. At present it is let on lease to Henry Cartwright, Esq., a gentleman much respected. In 1844, Mr. Cartwright served the office of high-sheriff, and since then has continued an active Justice of the Peace.

The family of Cartwright is among the most ancient of the British Commoners; as we find that Sir Hugh Cartwright, temp. Edward, led the van at the battle of Poictiers; and in the reign of Henry VII., 1485, by the marriage of Hugh Cartwright with Matilda Cove, four great branches sprung; one of whom, William, Captain in the Navy (temp. Charles I.), obeying the authority of his Royal Master against that of the Parliament, was by the latter deprived of his honours, and, dying in poverty, left an only son, William, the great-great-grandfather of the present occupier of Forde, who settled in Devonshire soon after the Reformation. By maternal descent, Mr. Cartwright is joint representative of the ancient and ennobled family of Anson. His grandfather, W. Anson, was first cousin of the Hon. Lord Anson, and last male branch of the Anson family. Mr. Cartwright married Miss Minet, daughter of J. Minet, of Baldwyn’s Park, Kent, Esq., and grand-daughter of Sir Charles Pole, Bart., of Wolverton, by whom he has issue Anson, Reginald, and others.

F.W. Hulme, Delᵗ. on Stone by W. Walton. M & N. Hanhart, Lithogʳˢ.

SHERBORNE LODGE, DORSET.

SHERBORNE LODGE,
DORSETSHIRE.

herborne Lodge, now the seat of Earl Digby, stands upon a rising ground, at a little distance from the ancient castle. It is surrounded by a large park, which, according to Leland, was in his time “inclosed with a stone waulle.” The Lodge is built on a singular plan, in the form of the letter H, with hexagonal towers at the four corners, and two others on each side of the centre of the principal front. The general appearance of the building is peculiar rather than picturesque; but, notwithstanding, it offers much that is interesting and worthy of admiration. The centre part is said to have been built by Sir Walter Raleigh, who, “by his merit and the royal favour,” obtained a grant of the Manor and Castle of Sherbourne, and many other lands belonging to the See of Sarum. He is said to have spent much time here, beginning “very fairly to repair the castle” (the ruins of which still remain); but, altering his purpose, “he built in the park adjoining to it, from the ground, a most fine house, which he beautified with orchards, gardens, and groves of much variety and delight,” so that for the “pleasantness of the seat and the delicacies belonging to it, it is unparalleled by any in these parts.” Notwithstanding these laudations of what Sir Walter had done, he appears to have left much of his plan incomplete.[18] Two wings were added soon after the Restoration, by the Earl of Bristol, who appears to have drawn freely on the ruins of the castle for the required materials.

The house contains many interesting and valuable pictures, chiefly portraits of remarkable historical personages. Among them is a good specimen of Cornelius Jansen; a portrait of Elizabeth, Countess of Southampton; also a portrait of Henry, first Earl Digby, by Sir Joshua Reynolds. But the most remarkable is a picture of the famous procession of Queen Elizabeth to visit Lord Hunsdon, at Hunsdon House, in Hertfordshire; she is carried in an open sedan by eight of her principal noblemen. Vertue ascribes this picture to Gerard, her majesty’s painter.

Sir Walter is said to have used unfair means to gain possession of this property, “being