Part 3
The reflections conjured up by an inspection of Esher old church are sad indeed, and the details of it not a little horrible to a sensitive person. There is an early nineteenth-century bone-house or above-ground vault attached to the little building, in which have been stored coffins innumerable. The coffins are gone, but many of the bony relics of poor humanity may be seen in the dusty semi-obscurity of an open archway, lying strewn among rakes and shovels. To these, when the present writer was inspecting the place, entered a fox-terrier, emerging presently with the thigh-bone of some rude forefather of the hamlet in his mouth. “Drop it!” said the churchwarden, fetching the dog a blow with his walking-stick. The dog “dropped it” accordingly, and went off, and the churchwarden kicked the bone away. I made some comment, I know not what, and the churchwarden volunteered the information that the village urchins had been used to play with these poor relics. “They’re nearly all gone now,” said he. “They used to break the windows with ’em.” And then we changed the subject for a better.
The “new” church—new in 1852—is a very imposing one, also with its Claremont Royal Pew, very like a drawing-room, built on one side of the chancel, high above the heads of the vulgar herd, who often, when the church is open, climb up the staircase to it, and, seating themselves on the chairs, go away and boast of having sat on the seats honoured by the great—thereby proving the vulgarity aforesaid.
The church was built chiefly from the accumulated funds of a bequest anciently left to Esher. This was the piece of land now called Sandown Park and the site of the well-known racecourse, let to the racecourse company at an annual rent. Not until 1899 did it occur to the Vestry that for the Church to be the landlord of a racecourse was a rather scandalous state of affairs, and the sanction of the Charity Commissioners was then sought and obtained for a scheme to sell the land outright for £12,000, this sum to be invested in Consols. These tender consciences obscured the business side of the question, for the land, if not already worth more than that sum, very shortly will be, considering the spread of London’s suburbs. It is rather singular that this freehold, bequeathed so long ago, was once the site of the forgotten Priory of Sandown, which would appear never to have been revived after its Prior and all the brethren perished in the great pestilence, the Black Death, that almost depopulated England in the Middle Ages.
Leaving the village behind and pursuing the Portsmouth road, the woodlands of Claremont Park are left behind as we come downhill towards Horseshoe Clump, a well-known landmark on this road. This prominent object is a semicircular grove of firs on the summit of a sandy knoll, looking over the valley of the Mole, the “sullen Mole” of the poets, flowing in far-flung loops below, on its way to join the Thames at Molesey. This is a switchback road for cyclists thus far, for the ridge on which Horseshoe Clump stands is no sooner gained than we go downhill again, and so up once more and across the level “fair mile,” to descend finally into Cobham Street, where the Mole is reached again. Here turn to the left, along a road marked by a sign-post “Church Cobham,” the original village, off the main road, of which Cobham Street on the Portsmouth road is only an offshoot developed by the traffic of old road-faring days. Church Cobham has, besides its ancient church and “Church Stile House,” a picturesque water-mill and mill-pond beside the road. Beyond, in two miles, the tiny village owning the odd name of Stoke D’Abernon is sighted; village in name only, for the church and a scattered house or two alone mark its existence. The Norman family of D’Abernon gave their name to this particular Stoke, originally a primitive British stockade, or defensible camp, at a ford on the Mole.
For the happily increasing class of tourists who are interested in archæology, let it be noted here that the chancel of this church contains the earliest monumental brass in the kingdom, the mail-clad effigy of Sir John D’Abernon, dated 1277.
Many of his race, before and after his time, lie here. The life-sized engraved figure of this Sir John, besides being the earliest, is also one of the most beautiful. Clad from head to foot in a complete suit of chain mail, his hands clasped in prayer, heraldic shield on one arm, his pennoned lance under the other, and his great two-handed sword hanging from a broad belt outside the surcoat, this is a majestic figure. His feet rest on a writhing lion, playfully represented by the engraver of the brass as biting the lance-shaft.
A second Sir John D’Abernon, who died in 1327, son of the first, also has his life-sized memorial engraved on brass.
Stoke “Dabbernun,” as the rustics call it, is at once exhausted of interest when its church has been seen.
The road now crosses the Mole by an old red brick bridge, and leads up a gentle rise to Slyfield Farm, a very picturesque old farmstead of red brick, designed in the classic style prevailing in the reign of James the First. This was once the manor-house of the now extinct Slyfield family. Fair speech and presentation of a visiting-card may generally be relied upon to secure the courtesy of a glimpse into the hall of this interesting old house, where an ancient massive carved-oak staircase may be seen, still guarded by the original “dog-gates” that in the times of our forebears kept the hounds in their proper place below stairs.
The road now winds pleasantly through the valley, but not within sight of the river until past the outlying houses of the little village of Fetcham. On gaining the point where the road from Great Bookham to Leatherhead falls into the one we are following, look out for an unassuming left-hand turning past the railway arch, leading in a hundred yards to Fetcham mill-pond. This is a lovely spot, where the wild-fowl congregate, and well worth halting at on a summer’s day, but tucked away so artfully that it will scarce be found save by asking. It is a long sheet of water, with reeds, and an island in the middle, and a peep back towards Leatherhead from the farther end, where the church tower peers above the trees. Flocks of moor-hens, a few couples of stately swans, and some domestic ducks form the invariable feathered company of the pond, and not infrequently the coot takes up his quarters here, with myriads of dabchicks; the great swans and little dabchicks, swimming together on the water, forming the oddest of contrasts: the swans like warships and the dabchicks like little black torpedo-boats.
Cycles can be walked along the path to the far end of the pond, where the road is reached again.
Leatherhead itself lies off to the left, less than half a mile distant, reached by a many-arched bridge straddling athwart the Mole, here a divergent and sedgy stream broken up by osier aits. On the other side of the bridge stands that crazy old inn, the “Running Horse,” claiming a continued existence since the fifteenth century and to have been the scene of the celebrated “tunning of Elynor Rummyng”; but, like the silk stocking so long and so often darned with worsted that no trace of the original material remained, the “Running Horse” has in all these six centuries been so repaired here and patched there that he would be a bold man who should dare swear to a fragment of that old house remaining.
Elynor Rummyng was a landlady who flourished in the time of Henry the Seventh. Skelton, poet-laureate of that day, in a long rambling set of rhymes, neither very elegant nor very decent, describes her and her customers at great length. As for Elynor herself, he says she was so ugly that
“Her visage it would assuage A man’s courage. Her loathly leer is nothing clear, But ugly of cheer, droupy and drowsy, Scurvy and lousy, her face all bowsy,”—
with much else in the uncomplimentary kind.
She was, Skelton goes on to say, “sib to the devil”; she scraped up all manner of filth into her mash-tub, mixed it together with her “mangy fists,” and sold this hell-broth as ale—
“She breweth nappy ale And makes thereof port-sale To Travellers and Tinkers, to Sweaters and Swinkers And all good ale-drinkers.”
There is no accounting for tastes, and, reading Skelton, it would seem as though the whole district crowded to taste the unlovely Elynor’s unwholesome brew, bringing with them all manner of goods—
“Insteede of quoine and mony, some bring her a coney, And some a pot with honey; some a salt, some a spoone, Some their hose, some their shoon; some run a good trot, With skillet or pot; some fill a bag full Of good Lemster wool; an huswife of trust When she is athirst, such a web can spin Her thrift is full thin. Some go straight thither, be it slaty or slidder, They hold the highway, they care not what men say, Be they as be may. Some, loth to be espied, Start in at the backside, over hedge and pale, And all for good ale. Some brought walnuts, Some apples, some pears, and some their clipping-shears; Some brought this and that, some brought I wot ne’er what, Some brought their husband’s hat,”—
and then, doubtless, there was trouble in the happy home.
Why the crowd resorted thus to tipple the horrible compound does not appear: one would rather drink the usual glucose and dilute sulphuric acid of modern times. The pictorial sign of the old house still proudly declares—
“When Skelton wore the laurel crown My ale put all the alewives down.”
To do that, you would think, it must needs have been both good and cheap. Certainly, if the portrait-sign of Elynor be anything like her, customers did not resort to the “Running Horse” to bask in her smiles, for she is represented as a very plain, not to say ugly, old lady with a predatory nose plentifully studded with warts.
Leatherhead is a still unspoiled little town, beside its “mousling Mole,” as Drayton calls that river. “Mousling,” probably because of the holes, or “swallows,” as they are called, into which this curious river every now and again disappears, like a mouse, as the poet prettily expresses it.
IGHTHAM MOTE AND THE VALE OF MEDWAY
From Sevenoaks, on the South-Eastern Railway, let this tour be begun; from that Sevenoaks Station rejoicing in the eminently cricketing name of “Bat and Ball.” There are reasons sufficiently weighty why the starting-point should not be fixed nearer London, chief among them being the hilly nature of the way. Sevenoaks itself, quite apart from the rather uninteresting character of its long street, does not bulk largely in the affections of the outward-bound wheelman, for to reach it one has a more than mile-long climb. But, setting our faces eastward, and avoiding Sevenoaks town, an easier beginning presents itself along the road to Seal, where, leaving behind the trim gardens and modern villas that form a kind of suburban and secular halo around the railway, we plunge into a woodland district.
Seal village is a harbinger of the Thoreau-like solitudes that succeed along the road to Ightham, standing as it does at the gates of Seal Chart, where, away from the road on either hand, stretch such crepuscular alleys of murmuring pines that even Bournemouth itself never knew. Does there exist a cyclist who can hurry along this road and not linger here, to rest his trusty steed against the corrugated stem of one of these aromatic giants of the forest, and listen to the intoning of the wood pigeons in the cathedral-like half-lights? If such there be, surely he merits the Tennysonian description, “a clod of thankless earth.” The far-spreading woods are unfenced and quite open to the road for one to wander in at will, and never a sound in their solitudes but belongs to the woodlands themselves; the cooing of the pigeons, and the rustling of some “sma’ wee beastie” disturbed by the crackling of the dry twigs under your feet. The squirrels themselves are noiseless and, to the unpractised eye, invisible; but there are many of them overhead, running with lightning speed along the red-brown branches of the pines that so accurately match the rust-red hue of their fur, and so help to conceal them from casual observation.
Following the road and the woods for two miles, the highway dips sharply, and takes a left curve just where you glimpse the blue smoke rising from the rustic chimneys of a wayside inn, down on whose lichened roof you look in descending. To dismount here, just as the view begins to disclose itself, is the better way, for only thus will you be in full receipt of the beauty and the exquisite stillness of the scene. The woods recede, like some clearing in a Canadian forest, and, standing back from the road, you see the inn whose roof-tree was first disclosed. On the other side of the highway, swinging romantically from the branches of a great Scotch fir, is the picture-sign of the house, bearing the legend, “Sir Jeffrey Amherst, Crown Point,” and showing the half-length portrait of a very determined-looking warrior, clad in armour and apparently deep in thought; while in the background is a broad river, across whose swift current boat-loads of soldiers, in the costume of two centuries ago, are being rowed.
The scene—the old inn, with the smoke curling peacefully upwards against the blue-black background of the pine-woods, and the picturesque sign swinging with every breeze—is a realisation of the places pictured in the glowing pages of romantic novelists. If one were only a few years younger, and conventions had not come to curb one’s first impulses, there would be no more suitable spot than this where to become an amateur Red Indian, or one of the robber chiefs suitable for such a spot.
The place has rather a curious story. “Crown Point,” as it is generally called, is so named after a place in Canada where Sir Jeffrey Amherst gained a great victory over the North American Indians early in the eighteenth century. Amherst eventually became Field-Marshal and Commander-in-Chief to the Forces, and, retiring and settling in Kent, founded the family of whom the present Earl Amherst is the head. The scenery here is said to greatly resemble that of Crown Point in Canada. The sign of the inn is repainted and kept in repair by Earl Amherst.
It may be worth noting that an historical relic is preserved in the immediate neighbourhood of this place; no less important an one, indeed, than the skull of Oliver Cromwell, now in the possession of Mr. Horace Wilkinson. Much discussion has arisen respecting it, but there seems no room for doubting that this is the veritable skull (or, rather, mummified head) of the Protector. The relic has a pedigree that traces it back to the stormy night when it was blown off the roof of Westminster Hall, where it had been exposed on a spike after the Restoration. The rusty spike still transfixes it, and on the dried cranium the reddish brown hair is yet to be seen. It has had many odd adventures. Picked up by a sentry on duty at Westminster Hall, it was concealed under his cloak, and afterwards secretly disposed of to some of Cromwell’s descendants, coming, many years later, into the possession of a travelling showman, from whom it was purchased by a relative of the present owner.
Ightham village, to which we now make our way, must by no means be confounded with Ightham Mote, two miles distant from it southward, past the hamlet of Ivy Hatch. Steeply up, and as steeply down, with intervals of welcome flatness, goes the road to the village, always through the pine-woods, and here and there the way is overhung with little craggy cliffs of yellow sand and gravel, as yet untouched by the road-surveyors of the County Council, who will doubtless some day trim away all these rustic selvedges of the forest, and curb and bank them in a straight line. What will the artists do then? Meanwhile, one still has here just one of those characteristic scenes Morland and his school so loved to paint—the hollow road with its steep banks, in whose crumbling earth the great wayside trees have secured what looks like a precarious footing, and the sandy earth where the moles and the rabbits burrow deep amid the gnarled roots. Up on the hillside that looks down upon the road is Oldbury, a Roman encampment, called by antiquaries the “Gibraltar of Kent”; but we will take the tales of its strength on trust, for a bicycle is no aid in exploring hilltop fortifications.
Ightham is a village that looks as though it had at some time aspired to become a town, so urban in character are some of its houses; urban, that is to say, in no ill sense. There is, for instance, the so-called “Town House,” one of the most beautiful and dignified architectural compositions of that late seventeenth or early eighteenth century character which in its Renaissance ideals makes so thorough a departure from the older English Gothic models. By “Town House” you are to understand a building devoted to public purposes; what we should, nowadays, more grandiloquently term a “Town Hall.” There was a time when Ightham bade fair to take on a new era of importance, in the early days of cycling, when it enjoyed a great popularity that was stolen away by Ripley, nowadays itself in the cold shade of neglect.
Turning to the right out of Ightham, through the pretty hamlet of Ivy Hatch, the Mote House is reached in two miles of shady lanes. Like many another old English house, Ightham Mote is tucked away coyly from the sight of the casual wayfarer. Looking diligently, you see it on the left hand, on coming down into a hollow, just a glimpse of its magpie black and white north front glimmering through the surrounding woods. It is one of the earliest of the fortified manor-houses, something between a castle and a residence, built when people had greater ideas of comfort than obtained when the Edwardian strongholds were erected, and yet before it was safe to build a house incapable of defence. Nowadays one finds a preference for an open, breezy situation; in those times, if they did not build upon sites difficult of access in one way they did in another; if they did not select a rocky crag they sought some oozy hollow, where, with some little ingenuity, it was possible to form a broad moat by damming the surrounding streams. This was the resort adopted here, and in Ightham Mote to-day one sees the original idea of a watery girdle, from whose inner sides rise defensible walls enclosing a courtyard. The only way across this moat was by a drawbridge, now replaced by masonry, the drawbridge defended by the still-remaining entrance-tower. Originally the ornamental part of the residence was strictly kept within the courtyard. The walls looking outward were either blank or else very sparingly provided with window openings. Later centuries have somewhat altered this, and the picturesque, half-timbered gables and outbuildings tell a tale of increasing security. There are those who will have it that Ightham Mote is the most picturesque old house in England. Perhaps it is, for its moss-grown stone walls, going sheer down into the clear water of the moat, its nodding, peaked gables, reflected in that beautiful ceinture, and the mellow red of the old brick entrance-tower, form a wonderful picture. Five hundred years have passed, and it is still a home. The tapestried hall, with its boldly timbered roof, yet forms the central point of the house, and the bedrooms where the Selbys, the old-time owners, slept for many generations are in use in these latter times. Modernity has crept in with regard to the essentials of comfortable living, but nowhere does it appear to mar the perfect old-world beauty of the place.
The imaginative may yet, without much difficulty in the mental exercise, people the quaint paved courtyard with the conventionally fair ladies and gentle knights of the age of chivalry; those ladies who, to judge by the works of the Old Masters, were so extremely plain, and those knights who could teach the tiger and the hyæna something in ferocity. Not that the old owners of Ightham Mote were men of this kind. Their old home plainly tells us they were not, desiring rather a peaceful seclusion than the ambitions and contentions of courts and camps. Defence, not defiance, was the watchword of those who lived in this picturesque hollow, barred in at night from the chances, surprises, and alarums of the riotous outer world.
The interior arrangements include original fireplaces, carved and painted ceilings, and a chapel. The grounds without and the forest trees beyond are green and luxuriant beyond belief outside the wonders of fairy tales—to whose realms, indeed, Ightham Mote more nearly belongs than to this workaday world. The moat, fed by a crystal stream, is clear and sparkling, and birds and butterflies skim over it and into the thickets of shrubs and wild flowers like so many joyous souls escaped from a life of care and pain to rejoice for ever and ever in sunshine and a careless existence. It is with a sigh that the Londoner turns away from a place whose loveliness fills him with a glorious discontent.
Many of the Selbys lie in Ightham Church, and some have their memorials in the little domestic chapel attached to the Mote House. Dame Dorothy Selby was a very phœnix of all the virtues, if we may believe her epitaph, wherein she is compared with a number of notable biblical characters, all very edifying.
The monument to her “pretious name and honor” is still to be seen on the chancel wall of Ightham Church. She appears to have been a person of many accomplishments. Firstly, a needlewoman of considerable parts—
“She was a Dorcas Whose curious Needle turn’d th’ abused Stage Of this leud World into the golden Age; Whose Pen of Steele, and silken Inck enroll’d The Acts of Jonah in Records of Gold.”
Then it is claimed for her that she discovered the Gunpowder Plot, in these words—
“Whose Arte disclos’d that Plot, which, had it taken, Rome had tryumph’d and Britan’s walls had shaken.”
Moreover—
“She was In heart a Lydia; and in tongue a Hanna. In Zeale a Ruth: In Wedlock a Susanna. Prudently simple, prouidently Wary; To th’ World, a Martha: and to heauen, a Mary. Who put on } {Pilgrimage 69 March 15. } in the yeare of her { Immortality} {Redeemer 1641.”
O rare and most estimable dame, paragon and phœnix, and very Gorgon of all the virtues, how little are your qualities hid in this, your epitaph!
She looks all those things and more, in her marble bust, that with thin, sharp-pointed nose, and with drawn-down mouth, gives her a very vinegary expression. There can be little doubt of it, the old lady was that terrible creature, the Superior Person.
There is, opposite this worthy lady’s monument, the stone effigy of a very much earlier inhabitant of the Mote—Sir Thomas Cawne, who died in 1374. He is represented in armour, his calm face peering out of his hauberk and chain mail. The window to his memory, over his tomb in the north chancel wall, made according to the directions in his will, still remains.