Part 4

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

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.

HARDWICKE HALL,

DERBYSHIRE.

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.”

FORDE HOUSE,

DEVONSHIRE.

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.