Part 3

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

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

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

CASTLE ASHBY,

NORTHAMPTONSHIRE.

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

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

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

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

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

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

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

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

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

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

KIRBY HALL,

NORTHAMPTONSHIRE.

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

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

WOLLATTON HALL,

NOTTINGHAMSHIRE.