CHAPTER XIX

WESTOVER, THE HOME OF A COLONIAL BELLE

On the following day, Gadabout scrambled across the flats out into the James again, intent upon a visit to Westover.

Unlike Brandon, Westover stands within sight from the river; and we had a good view of the old homestead as we passed by to make our landing at the steamer pier which is a little above the house.

There was a break in the tree-fringe on the north bank of the James. A sea-wall extended along the water's edge, and from either end of it a brick wall ran far inland. Within the spacious enclosure, the grounds swept back and up from the river, with noble trees and close-cut lawn; and crowning the slope stood the beautiful old mansion. A stately central building of red brick, with dormer windows in its steep-pitched roof, rose between low flanking corridors and wings like some overlord with his faithful vassals in attendance. In neutral brown the quiet river, in shadowy green the sloping lawn, in dull red and gleaming white the lofty, many-windowed front of Westover--a picture that drew Gadabout in close to the shoals that day.

The bit of history that goes with the picture gives us many glimpses of old-time elegance and romance, and helps us to a good idea of some of the pretentious phases of colonial life. It runs in this way.

Back in the beginnings of things American, when the dissatisfied planters at James Towne were starting out to establish their estates along the river, these lands by Herring Creek attracted attention. Under the name of Westover they soon became the property of the Byrd family, and rose to prominence among colonial estates in connection with the fortunes of that distinguished house.

The golden age of Westover was in the days of the second William Byrd, who was one of the most striking figures of colonial times. Handsome, learned, witty, and capable; with exquisite taste and elegant culture fashioned in the friendship of English noblemen; with almost endless acres and boundless wealth--a cavalier of cavaliers was this London-bred Virginian.

It is surprising that this _beau-ideal_ should have remained spouseless for two years after coming into his estate. He must have been considered the most fascinating matrimonial possibility in the colony. One can imagine how in a gathering of Virginia maidens intent upon their tambour embroidery, when the name of Westover's young master came up, a circle of eyelashes went down and a circle of tender hearts went both up and down. The prize was finally won by Lucy Parke, daughter of Colonel Daniel Parke whose portrait hangs at Brandon.

Some years later, family litigation called Colonel Byrd to England, where his wife and little daughter, Evelyn, joined him, and where his wife soon died. The residence in London continued for a number of years; and resulted in giving the Colonel a new wife in the person of a rich young widow, and in giving social finish and a broken heart to Evelyn Byrd.

Under the guidance of her father, she was educated after the manner of the fashionable life of that day. It must have been a time quite to the elegant Colonel's liking when London turned in admiration to his daughter; when, but sixteen and already crowned with social successes, the cultured beauty from the plantation on the James was presented at the English Court.

The stories of Evelyn Byrd's London experiences bring many noted names into the train of those who did her honour: the Lords Chesterfield and Oxford, and Pope at the height of his glory, and the cynical Lord Hervey, and Beau Nash, the autocrat of Bath. There should be mentioned too that old courtier (whoever he was) whose admiration was expressed in the rather mild witticism, "I no longer wonder that young men are anxious to go to Virginia to study ornithology, since such beautiful _birds_ are to be found there."

It was in the midst of this London gayety that Evelyn Byrd so literally met her fate in meeting the grandson of Lord Peterborough, Charles Mordaunt. The story of that unhappy love affair--the devoted pair, the opposition of the maiden's father, and the separation of the lovers--has become an oft-told but ever attractive romance.

About 1726, Colonel Byrd returned with his family to Virginia; and it was then, it seems, that he built the present mansion at Westover, and entered upon the almost sumptuous life there that was to make the plantation famous.

And Westover was a worthy setting for the worthy Colonel. Without the home, were lawns and gardens beautiful with native and imported trees, shrubs, and vines; and within the home, spacious rooms with rich furnishings and art treasures gathered in England and on the Continent. Here too was one of the largest and most valuable collections of books in the colonies. As a matter of course, this home was a distinguished social centre, drawing to itself the most brilliant colonial society.

Colonel Byrd died in 1744, and was buried in the old garden when it was in all its summer glory. In the next generation, Westover passed to strangers, having been for a century and a quarter the home of the Byrds, who for three successive generations had held proud position in colonial America.

Since then, the plantation has suffered from many changes of ownership, and from the Civil War. The mansion was held several times by the Federal forces, being used as headquarters and as an army storehouse. Among the war injuries it sustained was the destruction of one wing. The destroyed portion has been rebuilt recently by the present owner of the estate, Mrs. C. Sears Ramsay. Under her ownership, Westover has had added interest, especially for lovers of the colonial, on account of such extensive restoration as has made the old home one of the finest examples of eighteenth century architecture and furnishing in America.

Surely while we have been telling the story of Westover, Gadabout has had time to reach the steamboat pier above the house; and we may take it that she is safely tied to the pilings.

Once ashore, Nautica and the Commodore found that a short walk along the river bluff brought them to an entrance to the Westover grounds. Gates of wrought iron, with perhaps a martlet from the Byrd coat of arms above them, swung between tall pillars in the wall. From this entrance, a pathway approached the homestead diagonally, and afforded charming views of the house and its surroundings. To our right as we walked, the lawn, thick set with trees, sloped gently to the river wall. To our left, the views came in broken, picturesque bits; a stretch of shrubbery, a reach of garden wall, some quaint outbuildings in warm, dull red, a glimpse of courtyard beyond a corner of box, and then the old home itself.

The riverward portal of Westover stands tall, white, and finely typical of its day. Above squared stone steps, the double doors with the fanlight above them are framed by two engaged columns supporting an elaborate pediment that has the symbolic pineapple in the centre.

We stood before the fine entrance, fancy painting the old-time scene within; that scene of eighteenth century elegance which is the traditional picture of colonial Westover. The door opened, and we entered upon perhaps quite as charming an eighteenth century scene, which is the Westover of to-day.

A panelled hall extended through the house, the double doors at the farther end opening upon a glass-enclosed vestibule. About midway, and from beneath a heavy crystal chandelier, the stairway of carved mahogany rose to a landing, where an ancient clock stood tall and dark, then turned and wound to the rooms above.

To the right of the hall was the drawing-room. Passing over its threshold, we thought of those old colonial days, the days of Colonel Byrd. As in his time, the light came subdued through the deep-casemented windows. It fell upon the walls that he had so handsomely panelled, upon the ceiling that he had ornamented in the delicate putty-work of his day, and upon furniture in carved mahogany that was of the period of his ownership of Westover.

At the farther end of the room was the noted mantelpiece imported from Italy by Colonel Byrd. It is an elaborate creation of Italian marble with relief design in white upon a black background. In front of it, on either hand, stood handsome brass torcheres, with their suggestion of the mellow candle-light that was wont to fall in this same room upon the courtly Colonel, the lovely Evelyn, and those brilliant assemblages of colonial times.

Opening also from the hall are the dining-room with its high colonial mantel and typical Virginia buffet, the French morning-room with its gray green tints and its touches of gilt, and the library with its old chimney-piece, high black fire-dogs, and quaint fire-tending irons. All the rooms have their colonial panelling, deep window-seats, and open fireplaces.

In the dining-room our interest was quickened upon our being told that the handsome sideboard had belonged to the Byrd family. It is believed to be a Hepplewhite, though similar in lines to a rare design of Sheraton's. Above the sideboard a circular, concave mirror of elaborate eighteenth century type accentuates the period furnishing of the room.

Up-stairs even more than below, we felt the atmosphere of the olden time. Perhaps passing the ancient clock on the landing helped to set us back a century or two. We were quite prepared for the quiet, old-fashioned upper hall, with its richness half lost in the shadows and with its sleepy night-stand holding a brass house lantern and a prim array of candles in brass candlesticks.

In the bedrooms were four-posters and the things of four-poster days. Wing-cheek chairs of cozy depths told of old-time fireside dreams; a work-table with attenuated legs called to mind the wearisome needlework of our foremothers; and a brass warming-pan carried us back to the times when only such devices could make tolerable the frigid winter beds of our ancestors.

One of the riverward bedrooms is the romantic centre of Westover. It now belongs to the little daughter of the house; but nearly two centuries ago it was the room of Evelyn Byrd. Doubtless, in a sense, it will always be hers. The soft toned panelled walls, the old fireplace opposite the door, and the cozy little dressing-room looking gardenward, all seem to speak of her; and the imaginative visitor can quite discern a graceful figure in colonial gown there in one of the deep window seats that look out upon the pleasance and the river.

Here the unfortunate colonial beauty lived and died with the grief that she brought from over the sea. Here she laid away the rich brocade, the old court gown of brilliant, bitter memories that was shown to us at Brandon. Through these windows she looked with ever more wistful eyes out upon the river, her thoughts hurrying with its waters toward the ocean and the lover beyond. And one day, it is said, a great ship from London came, and it touched at the pier before her windows, and Charles Mordaunt plead his cause with the stern father once more. But he plead in vain, and the ship and the lover sailed away. For a while longer, the colonial girl waited and looked out upon the river, then she too went away and the romance was over.

In the family circle at Westover to-day are Mrs. Ramsay, two sons, and the little daughter, Elizabeth. Among well-known families appearing in Mrs. Ramsay's ancestry are the Sears and the Gardiners of Massachusetts, she being a descendant of Lyon Gardiner of Gardiner's Island. She also claims kinship with the Randolphs and the Reeveses of Virginia, and a collateral and remote connection with the Byrds.

When we returned to the steamer pier after our visit at Westover, we found quite a wind on the river and the houseboat fretfully bumping the pilings. We hastened aboard, ran down stream before a stiff wind, and skurried back into our harbour in Herring Creek, where Gadabout settled to her moorings as contented as a duck in the marshes.