Part 3

could be provided by money or friendship. The preliminaries were carried out on a magnificent scale. “The yeomen and grooms of the wardrobes were busied in hanging of the chambers with costly hangings, and furnishing the same with beds of silk, and other furniture apt for the same in every degree. Then the carpenters, the joiners, the masons, the painters, and all other artificers necessary to glorify the house and feast were set to work. There was carriage and re-carriage of plate, stuff, and other rich implements; so that there was nothing lacking or to be imagined or devised for the purpose. There were also fourteen score beds provided and furnished with all manner of furniture to them belonging.” When the feast began the arrangements were perfect and we are able to imagine the scene. “Anon came up the second course, with so many dishes, subtleties, and curious devices, which were above a hundred in number, of so goodly proportion and costly that I suppose the Frenchmen never saw the like. The wonder was no less than it was worthy in deed. There were castles with images in the same: Paul’s Church and steeple, in proportion for the quantity as well counterfeited as the painter should have painted it upon a cloth or wall. There were beasts, birds, fowls of divers kinds, and personages, most lively made and counterfeit in dishes, some fighting as it were with swords, some with guns and crossbows, some vaulting and leaping, some dancing with ladies, some in complete harness, jousting with spears and with many more devices than I am able with my wit to describe. Among all, one I noted: there was a chess board subtilely made of spiced plate, with men to the same.” Cavendish goes on to mention the arrangements made for the guests at night, and the whole account reads like an Arabian Nights’ Entertainment.

Although the above festivities at Hampton Court were or exceptional grandeur, they were typical of the kind common throughout the land in Tudor times. The fine houses having been built, it was only natural that they should be filled with guests who would contribute to the gaieties of the place. The scenes of pomp and splendour which were enacted at many of the mansions illustrated in this book were duly recorded, and royal personages as often as not appeared in the pageants. It requires little effort of imagination to restore the glories of the past and to people these ancient buildings with those for whose glorification they were erected. The majority of the mansions themselves are but shadows of their former selves, but the illustrations by which such artists as Nash, Richardson, and Fairholt recorded their beauties enable us to conjure up the ghosts of the departed Englishmen who gave life to the structures. The remains of the buildings themselves are a heritage of which we should be and are proud, and no efforts should be spared to keep them from decay or destruction, whatever the difficulties. Illustrations made in different periods are useful and entertaining, but they are nothing compared with the pleasure given by the mansions themselves. It would be a calamity indeed if these objects of antiquity were to be swept away.

When Crewe Hall (illustrated here in Plates LIV, LV, and LVI) was burned to the ground in 1866, the late S. C. Hall recorded that since he had published his “Baronial Halls and Picturesque Edifices of England” no fewer than thirteen of those he had described had been destroyed by fire. Without attempting to complete these statistics it is certain that the list could be considerably extended, and as time goes on other accidents will rob the country of many more of its architectural attractions. The romance which is enshrined in these old buildings will never be forgotten, however, for the story of each structure has been told many times, and events of the day often cause us to refresh our memories. In 1913, for instance, the famous old Kirby Hall, Northamptonshire (Plate XIV), came into the market, as Quenby Hall, Leicestershire, had done also; and we were reminded then of their long histories. A nobleman sells one of his pictures for a large sum, and our thoughts immediately revert to the home which the painting has graced, perhaps for centuries. Then there are all kinds of incidents connected with the descendants of notable families, which bring forward once again the architectural background of social life. Even though in some cases these relics of the past have been razed to the ground, history has been made in them which can never be obliterated. It is the personal and sentimental interest which helps us to appreciate the work of the men who built or decorated the houses where family histories began. These architects, master-masons, and other workers skilled in invention and execution contributed in the most permanent and satisfying way to the distinction gained by their employers. If they themselves are unknown to fame, or are forgotten by all but students of building, their genius is imperishable. Later generations of architects and craftsmen have supplied the best of all epitaphs, that of emulation. Whether John Thorpe built this or that house, whether Inigo Jones did or did not design portions of famous buildings, the questions afford pleasant exercises in deduction and attribution. But the sum total of achievement is the main thing to be considered. So far as domestic architecture is concerned the lessons of the past have been put to good use in England.

One of the most ancient buildings illustrated in the present volume is Haddon Hall (Plate I), which dates from Plantagenet times, or earlier. Alterations and additions were made subsequently, and the building affords an almost unrivalled opportunity to study the ideals of various periods. It is of the castellated type and was evidently built for defence, but the later work is of equal importance. Sir George Vernon, known as the “King of the Peak” on account of his magnificent style of living, was responsible for considerable additions in the sixteenth century, while the Long Gallery and parts of the garden are to the credit of his daughter, Dorothy Vernon, who married Sir John Manners, second son of the first Earl of Rutland. This old house, situated so picturesquely on sloping ground, is associated with many legends, including the supposed courtship and elopement of the celebrated Dorothy, a pleasant fiction which is too generally believed to be exposed. Haddon would lose some of its attractions if the “Walk,” the “Door,” and other features associated with the popular heiress were removed, but even without them the building would be of romantic interest. Mr. Henry James, in one of his refreshing essays, has recognised “the inevitability of a Dorothy Vernon and a Lord John,” which sums up the prevailing sentiment of the place. It seems made for an elopement, and if in reality one did not take place, then it was the fault of the people and not of the house, which lent itself so admirably to such a purpose. Cattcrmole, like many other artists, loved to paint here and to conjure up delightful visions. Haddon was for a long time a favourite place or residence of the Earls of Rutland, but towards the end of the eighteenth century much of the movable furniture was taken to Belvoir. Since the days of general travel the tread of visitors, often on their way to Chatsworth, has been incessant, and if the chief interest has been popular and sentimental rather than architectural, it is not surprising under the circumstances.

To think of Haddon Hall without Hardwick Hall is impossible, for the two are among the greatest of many attractions in Derbyshire. Hardwick Hall (Plate XXV) dates from the year 1590 and adjoins the site of an even more princely structure. It owes its origin to the famous Elizabeth Hardwick, whose building activities were abnormal, partly because, so runs the legend, it was predicted that she would never die until she ceased to build; which prophecy was fulfilled, for her last day came at the time of a frost so severe that her labourers had to suspend operations. Bess of Hardwick survived four husbands--Robert Barley, Sir William Cavendish, Sir William St. Loe, and the Earl of Shrewsbury, who was custodian of Mary Queen of Scots. The history of her descendants is even longer than her own. She accumulated vast wealth and spent on building much of her annual income of £60,000, possibly for the reason that she believed in the prophecy concerning herself. A woman of extraordinary energy and accomplishments, she was responsible for the erection of Hardwick, Chatsworth, Oldcotes, and other places. Everyone knows the old saying,

“Hardwick Hall, More glass than wall,”

which was applied to the first-named building for obvious reasons. In those Elizabethan days there was a growing desire to dissipate gloom and to reverse the old practice of building mainly for strength. If Bess of Hardwick exaggerated the advantage of window space at Hardwick Hall and gave it somewhat the appearance of a modern steel-framed structure, she provided us with compensations in the same house, for the state apartment, a corner of which is shown in the illustration by Lake Price (Plate XXV), possesses great beauty in conception. It is 65 feet long, about 30 feet wide, and 26 feet high. The state bed included in the drawing came from Chatsworth.

Horeham Hall, Essex (Plate XI), is an interesting example of early sixteenth-century work, retaining much of its original quality. The Princess Elizabeth found a refuge here while her half-sister was on the throne, and liked the place so much that she often revisited it after she succeeded to the Crown. The building, owing its origin to Sir John Cutt, shows a curious mixture of castle and mansion, not only as regards the exterior but in the planning. It was once surrounded by a moat, which was partially filled in about the middle of the nineteenth century. The stepped gables and ornamental battlements give picturesque irregularity to the elevation.

Essex possesses in Audley End (Plates XLII and XLIII) a special reminder of the past. This mansion was more imposing in size originally than it is now, so much so that James I is said to have remarked, “It is too much for a King, though it might do very well for a Lord Treasurer”; an observation matched by Queen Victoria, who on visiting Stafford House, now the London Museum, said to the Duchess of Sutherland, “I have come from my house to your palace.” Audley End takes its name from Sir Thomas Audley, afterwards Baron Audley of Walden, who was Lord Chancellor to Henry VIII in succession to Wolsey and More. The Manor of Walden had been granted by William the Conqueror to his famous follower, Geoffrey de Mandeville, first Earl of Essex, and in course of time had reverted to the Crown. Sir Thomas Audley acquired it in 1538, after the Dissolution of the Monasteries with which he had so much to do and by which he profited extremely. His elder daughter married first Lord Henry Dudley and afterwards the Duke of Norfolk, whose son, Lord Thomas Howard, created Earl of Suffolk and Baron Howard de Walden, built the magnificent home, named Audley End in memory of his mother’s father. Lord Thomas Howard, who was one of the heroes in the fight against the Armada, and became Lord Treasurer of England, made plans for a building of surpassing grandeur and spent something like £190,000 on the place, an enormous sum in those days. The work was begun in 1603 and was finished about 1616. Soon afterwards the fortunes of the owner changed and he found himself in the Tower. His successors were unable to maintain the establishment, and in 1666 the third Earl of Suffolk sold it to Charles II. It became a favourite place with the King, partly because it was on the road to Newmarket, and the mansion became alive with the festivities of the Court. Pepys records how having drunk the King’s health he played a flageolet solo in the enormous cellars, the echo pleasing him greatly. Evelyn described the mansion as “Indeede a cheerfull piece of Gotic building, or rather antico moderno,” conveying a hint of its Italian features. Audley End reverted to the Howard family in 1701, and in 1721 Vanbrugh took it in hand, demolishing three sides of the grand quadrangle and in other ways reducing its size to more homely proportions. At the end of the eighteenth century Lord Braybrooke restored the mansion at great expense and wrote its history.

Another Jacobean house associated with the Howard family was Charlton House, Wiltshire (Plate XXXII), the seat near Malmesbury of the present Earl of Suffolk. This building was “modernised” by Matthew Brettingham in the time of George III, but many of its original characteristics survived.

The other Charlton House (Plate XV) is in Kent. Sir S. P. Maryon Wilson, Bart., the present owner, is the fortunate possessor of a building of remarkable interest and perfection which has belonged to his family for generations. The house was built for Sir Adam Newton between 1607 and 1612, and it is possible that it was intended to be a Royal residence. The founder was tutor to the eldest son of James I, Prince Henry, who, however, died in 1612. Evelyn believed the house to have been built for the Prince of Wales, and as the royal arms were placed on the building this theory is tenable. Though the surroundings of Charlton House have changed during the three centuries it has existed, much of the original interest remains. It is one of those buildings, like Cobham Hall, a few miles from Gravesend, which, though on the verge of the newer civilisation, retain their historic significance.

Kent is rich in the architecture of other days, and many instances could be given of structures erected at different periods. They need not be enumerated, for they are mostly well-known, but reference may be made to those included among the illustrations. East Sutton Place (Plate XXXIX) and Little Charleton (Plate LVII) are neighbouring houses, both being associated with the Filmer family. The former is now the residence of Mr. Malcolm Aird. The Old Manor House, Hollingbourne (Plate XXXVI), was built in Elizabethan times for a member of the Culpeper family, and like many another old family residence it became a farmhouse. Hollingbourne is on the Pilgrim’s Way and has reverted to its original use, being now the home of Mr. J. H. Deacon. The old house at Maidstone (Plate XLVIII) is typical of many erected throughout the country in Jacobean times and finished with great elaboration. Its date is 1611.

Somewhat later than the house at Maidstone, and more than rivalling it in interest, is the old house at Ipswich (Plate XL). This was built in the reign of Charles I for Robert Sparrow, Bailiff of Ipswich, after whom the house was named. The four bay windows on the principal story are supported by a cornice and a series of richly decorated corbels. There are panels emblematical of Europe, Asia, Africa, and America, and in the centre is a royal coat of arms. Figures appear again in the gables of the dormers. The exuberant fancy of the designer of this house was governed by a sense of proportion, otherwise the effect would have been far different.

For picturesqueness the half-timber houses are unequalled, and many examples remain in England to remind us of the successful conception of this type of house, originating, no doubt, in the supply of local materials. This style of architecture reached its zenith in the time of Elizabeth and was popular both for town and country buildings. The streets of Chester are a never-failing source of interest in this respect, and many houses in the neighbourhood enjoy well-deserved fame. One of them, Garden Hall, dating from the sixteenth century, was destroyed by fire in 1912, a regrettable calamity. Moreton Old Hall (Plate XXIII) is an exceptionally good example of a timbered house, presenting nearly its original appearance. As we have seen (p. 16), it dates from the middle of the sixteenth century, and although suffering a period of neglect, it has been restored to usefulness and beauty. It is now a farm and is still in the possession of the Moreton family, traditionally associated with it. Entering by the stone bridge over the moat, the view is quaint and attractive, the gatehouse and courtyard being most impressive. Of the rooms not one is so interesting as the ballroom or long gallery with its open timber roof.

Pitchford Hall (Plate XVI) is among the most striking buildings in Shropshire, and it is said to possess an unbroken record of tenancy since it was erected in the time of Henry VIII, never suffering from the changes which are almost inevitable during such a long period. The building is certainly in excellent preservation, and is maintained as a residence with due regard to its venerable appearance. The Princess Victoria and the Duchess of Kent stayed here in 1832. The drawing by F. W. Hulme shows more windows than exist at present, an indication that alterations have taken place--possibly restorations to a former and better state. The moat has been altered also. The view taken by the artist barely suggests the extent of the building, for only one wing is shown prominently. Also in Shropshire is Park Hall, near Oswestry (Plates XXVI, XXVII, and XXVIII), the residence of Mrs. Wynne Corrie. This house was erected about 1640, and Richardson’s almost photographic drawing represents the exterior as it stands at the present day. A notable building is the Oak House, West Bromwich (Plate VIII). The special feature is the timber turret rising from the centre of the roof and competing in effect with the series of chimney-stacks. It is now in the midst of the Black Country, with which it has little in common.

Among the best half-timber houses in Lancashire is Smithells Hall (Plate VI), where the bold quatrefoil work makes a variation in decorative effect. It is of very ancient foundation, but the existing work dates from the early sixteenth century. It passed into the Ainsworth family about a hundred years ago at a cost of £21,000, and has since been preserved as a family residence. Turton Tower (Plate VII) is also a few miles from Bolton. The embattled stone tower, built for defence, belongs to an earlier period than the wood-and-plaster portion and affords a remarkable contrast in style. In Bolton, and now belonging to the Corporation, is the interesting old building known as the “Hall i’ the Wood” (Plate V), a description which has lost its point as much as the original “Bolton-le-Moors.” Cotton-spinning accounted largely for the transformation, and it is appropriate enough that the Hall i’ the Wood should be a museum, reminding visitors of the history of a son of Bolton who revolutionised the local industry, namely Samuel Crompton. The picturesque old building, which once fitted so well into the open landscape, became dilapidated and was divided up into tenements at the end of the eighteenth century. Among those who lodged there in poverty was Crompton, then engaged in perfecting his machine. Bolton operatives did not look with favour on mechanical aids to labour, and Crompton had to hide his “mule” from rioters. At last he disclosed his secret, and the idea which helped to make Bolton rich gained immortality for the inventor, but little else. Indeed, but for a few friends who came to Crompton’s aid, poverty would have claimed another genius. As a Museum the Hall i’ the Wood will remain in perpetuity as the shrine of this remarkable man.

Another historic building to end its days as a museum is Aston Hall, Warwickshire (Plates IX and LI), which after a period of suspense came under the administration of the Birmingham Corporation. The majestic appearance of the building remains in spite of attacks by man and time. The central entrance leading to the hall is noteworthy as an innovation in planning. With its curved gables, towers, and chimneys, the exterior is picturesque, while the interior is attractive in many ways, not the least interesting feature being the oak staircase which was damaged by cannon-shot during the Civil War. Sir Thomas Holte, the first owner, was a Royalist and entertained Charles I at his “poor house of Aston” just before the battle of Edgehill, for which hospitality revenge was taken by the Parliamentary army. Aston Hall was once the residence of James Watt, son of the great engineer. In the middle of the nineteenth century it was saved from demolition, the mansion, together with its surrounding acres, being purchased for general use.

Although Hampton Court (Nash’s delightful drawing of which is reproduced in colours as a frontispiece to this volume) is the private property of the Crown, it is usually open for inspection, and its splendid past is always an inspiration. It was due to Queen Victoria that the Palace and grounds, long neglected, were made available for the public. A politician with a gift for phrase-making has described it aptly as a place of “pleasure, leisure, and treasure,” which is true, though its educational value need not have been overlooked. A reference to its association with Wolsey occurs on p. 18, and much more could be written in connection with its early history, the period which provided Joseph Nash with the subject of the drawing reproduced here. Since Hampton Court was first built its appearance has been changed considerably, notably by Wren’s addition of the beautiful Fountain Court and other portions. The building provides many chapters of romance, sometimes connected with the restoration of hidden features. Especial interest, for instance, is attached to the stone bridge over the moat, built in the time of Henry VIII, buried in after years, and not reinstated until a few years ago.

The glory of Kenilworth has departed, but its history lives. It is a long record, and if little remains of the structure which saw so many pageants in Tudor and earlier times, the ruins, including the Gatehouse (Plate LIII), are of exceptional interest. For all its poetic licence, Scott’s novel is one of the books to which we turn for vivid descriptions of the scenes which took place within its walls and in the neighbourhood. It was a glorious pile, and, in the words of the late Mr. C. E. Mallows, “in its perfect state, it must have been a complete museum of English architecture from Norman times to Leicester’s additions in the reign of Elizabeth.”

Crewe Hall, which suffered by fire in 1866, was rebuilt by Edward Barry after the old model, and the present building might be mistaken for the original structure, erected between the years 1615 and 1636 for Sir Randal Crewe (Plates LIV, LV, and LVI). The story is told that at the time of the fire Lord Crewe sent a telegram to his architect, saying, “Crewe is burning, come and build it up again,” an example of sangfroid suggested perhaps by the reply of Sheridan to a friend who asked the dramatist how he could sit complacently with a bottle of wine before him looking at the burning Drury Lane Theatre, which Sheridan practically owned at the time. “Surely,” was the reply, “a man may be allowed to take a glass of wine before his own fireside.” The noble old mansion known as Kirby Hall (Plate XIV) is the work of John Thorpe, who has recorded that he laid the first stone in 1570. Additions were made about 1638 by Inigo Jones. It was built for Sir