Chapter 2

â€œThe Stately Homes of England,How beautiful they standAmidst their tall ancestral treesOâ€™er all the pleasant land.â€

HENRY SHAWSIDE OF DINING-ROOM AT GILLING CASTLE, YORKSHIRE

HENRY SHAW

SIDE OF DINING-ROOM AT GILLING CASTLE, YORKSHIRE

Happy should we be if we could give similar credit to those architects and craftsmen whose work was the best of its period but whose identities are unknown. They provided sources of pleasure and instruction, not only by the results of their skill but by inspiring artists of later generations to interpret their ideals and popularise their creations. Architects of modern times and students of all descriptions have searched in vain for information which would reveal the authorship of certain executed designs. Even when a clue has been obtained it has led to nothing definite, and the credit for much of the greatest building work is given to the client who paid for it, a thing not unknown in modern times. We are told that â€œNonsuchâ€ was built by King Henry VIII, Hampton Court by Cardinal Wolsey, and other venerable places were due, apparently, to the architectural genius of earls, knights, esquires, and other people. Perhaps these patrons did exercise considerable influence in the erection of the houses in which they intended to live, and in some cases it is likely that they superintended the work of quarrying the stone, felling the timber, and obtaining other materials. The anonymity of the real architect, as we should call him, was preserved, and, as in the case of the Gothic cathedrals, attributed to one or another bishop, we must be content to admire the work without knowing for certain to whom should be given the credit. The master builders and carpenters of the day succeeded as admirably in disguising their names as in doing their work, and it was not until the middle of the sixteenth century that the veil of obscurity was lifted.

When in 1563 John Shute published his â€œFirst and Chief Groundes of Architectureâ€ he described himself as â€œPaynter and Archytecte,â€ but little is known of him in either capacity and his fame rests mainly on the publication of this excellent book on the Orders. Stephen Harrison, the designer of some fine triumphal arches for erection in London in 1603, â€œin honor of the High and mighty prince James, King of England,â€ described himself as â€œJoyner and Architect.â€ The latter word was evidently coming into use in England as a supplementary qualification. In June 1566 Queen Elizabeth laid the foundation-stone of the first Royal Exchange in London, known as â€œBritainâ€™s Burse,â€ and the name of the architect employed by Sir Thomas Gresham was one Henry de Pas or Paschen, a native of Antwerp. It was not until 1570 that an English architect transmitted his name to posterity as the author of a notable example of domestic architecture. In the Soane Museum there is a plan of Kirby Hall (Plate XIV) on which John Thorpe wrote the words â€œWhereof I layd the first stone 1570â€; and though Thorpeâ€™s career and attainments have been the subject of acute discussion, he may be regarded as one of the first to emerge from obscurity. Afterwards came the Smithsons, father and son, Inigo Jones, Webb, Wren, and a succession of well-known architects. In additionto the names or architects arising from the depths of history there are other reminders of identity. On the exterior of Moreton Old Hall (Plate XXIII)is an inscription referring to William Moreton, MDLIX, and one, â€œRycharde Dale, Carpeder, made thies windous by the Grac of God.â€ On the building known some years ago as â€œNantwich Old Town Hallâ€ (Plate XLIV) were the words â€œRichard Dale, Free-Mason, was the master carpenter in makinge this buyldinge, Anno Domini 1611â€; and in the Victoria and Albert Museum is a beam of carved elm dated 1638 with the words, â€œI was set upp right and even per John Sommersett.â€ Such examples only whet our appetite for still earlier records of native workers. They existed in great numbers in spite of the fact that England in the sixteenth century was the home of many Italian artists who influenced the work of the day. Torrigiano arrived about 1510, and he found ample patronage, like many of his fellow-countrymen.

While it would be very instructive to know the names of those who designed and executed the Tudor buildings, it is doubtful if the facts ever will be established, and we must be content to admire without knowing to whom the credit should be given. Our appreciation is sincere, and we find unlimited interest in the remains of another industrial age. The question of authorship, however, though giving us opportunity for attribution, is not so important as the value of the buildings themselves. The problems of design and construction, the new planning, the means of decoration and equipment, such were the things which occupied the attention of our ancestors and which may now be traced and compared with subsequent architectural achievements. In Tudor times a domestic revolution was in progress. The accessories of life, possessed, if not enjoyed, by those who had gone before, were being thoroughly overhauled and were often condemned in the light of altered conditions. The barrack life of feudal and mediÃ¦val times had been changed gradually and the accommodation had become more private. Residential possibilities began to be conceived. Comforts suggested themselves and were adopted in the new houses which arose all over the country. Building became a passion with the wealthy, and with the demand for ideas there arose a supply of men desirous of devoting their lives to the building and embellishment of houses, an ambition of which the fruits may still be enjoyed to some extent.

Subdivision was one of the guiding principles in the evolution of domestic architecture. Time was when the barest necessities in the way of architecture sufficed for the accommodation of the chieftains and their servants, armed or otherwise. The main requirement was solidity. Everyone then shared the fortified castles, which were surrounded in many cases by moats, and lived under the most primitive conditions. In those days apparently the only way to find solitude in a home was toget committed to the dungeons, and there were drawbacks to those retreats. Gradually more privacy was obtained by the lord and his family. The large and lofty hall, with dais and minstrel gallery, continued to dominate the plan and remained the most serviceable apartment, common to all; but smaller rooms began to be included in new buildings or additions were made to the old places. The castles, though remaining primarily as places of defence and protection from the weather, began to be used for occupation also, and new elements entered into their design and construction. The keep developed, and eventually the domestic requirements of the establishment displaced the other considerations.

When Henry VIII came to the throne, richer than most kings or England had been and with unlimited resourcefulness, the time had come for the development of the domestic buildings of the country in a way hitherto impossible. Throughout the reigns of the Tudor sovereigns there was continuous activity in this direction, as well as in other departments of the national life, and the evidence which remains proves what an upheaval of thought took place. Hitherto the most important, if not the main, attribute of a residence was its invulnerable character. The walls were as wide as many rooms at the present day, and this solid mass of stone or brick was pierced by apertures, varying in size but generally only large enough to admit light without providing an entrance for an enemy. At the foot of the building the holes were especially small. If the windows were glazed at all it was with horn as often as not, though glass was easily procurable. Fireplaces had been features of the interiors for many years before Tudor times, and they were often supplemented by open hearths in the middle of the large hall, the smoke escaping through a louvre in the roof. An example of this effective mode of warming is still to be seen at Penshurst.

The somewhat prison-like characteristics of these early buildings became obsolete through the advent of more peaceful occupations and by the invention of weapons against which stone and brick could not stand. The impetus given to more rational building gathered in force and, inspired by a monarch himself enterprising in such matters, the results were to be seen everywhere. The lands and properties which changed hands at the Suppression of the Monasteries brought wealth to many people, who immediately began to re-house themselves on a scale in keeping with their ample resources. In these buildings of Henryâ€™s time there remained an inclination towards strength, and the small window openings only disappeared slowly. There was evidently a certain reluctance in giving up the appearance of a fortified dwelling-place, even though the building itself would be practically useless to defend the inmates against new means of attack. By the time of Elizabeth, however, this lingering aversion to the purely domesticbuilding had vanished, and while the exteriors began to be more ornamental the interiors were arranged with increasing regard for comfort and convenience. The Hall remained as the chief feature of the ground floor, though by this time some families had abandoned the practice of taking their meals with their retainers. The Long Gallery came into existence as the principal room upstairs, being serviceable for recreation and entertainment. Its bay windows, when not too numerous, contributed to the internal and external interest of the building. Wide and majestic wooden staircases came into use and the spaciousness of the period was expressed admirably. Gardens, laid out with architectural forethought, began to form component parts of houses, and an air of opulence and peace pervaded the country, in spite of the fact that war-like preparations were in progress. The expansion of England was reflected in the architecture and decorations of the period, and under the influence of wealth, prosperity, and inclination new ideas were generated. The transition from mediÃ¦val life was complete. After the defeat of the Invincible Armada the work of building went on with undiminished force; and though the Palladian era was beginning, destroying the simplicity and charm of the earlier period, the houses of the time were far from being destitute of attraction and significance.

Tudor architecture appeals to us for many reasons, and not least because of its human associations. In the presence of such a building as Hampton Court we are reminded of various periods of architecture and different generations of notable people. The names occur to us of many royal personages who lived there. We think of Wren ending his days near to the structure with which he was so intimately associated. But it is the memory of Wolsey which takes the foremost place in our thoughts. Everyone knows the pretty story of the Cardinalâ€™s diplomacy in presenting the building to the monarch who so much appreciated it before and after it came into his possession. Its history, however, began some years before that, and it is to the events of those early days that we are specially attracted. We imagine Cardinal Wolsey securing the position of Lord Chancellor and setting builders and craftsmen to work on a suitable abode with total disregard to cost. Arrangements had to be made in the scheme for a great household and for the hundreds of guests and their retainers who in due course went to the noble residence on the banks of the Upper Thames. Wolseyâ€™s hospitality monopolised the services or an army of dependents and the planning of the place was tested severely. To understand the requirements of Hampton Court in those days we may turn to the life of Wolsey written by George Cavendish in the sixteenth century. There we may read of the historic entertainment provided for the ambassadors from France. The Cardinal called for the principal officers of his house, such as his steward, comptroller, and the clerks of his kitchen, ordering them to prepare the best banquet that

HENRY SHAWEND OF DRAWING-ROOM OF A HOUSE AT GREAT YARMOUTH, NORFOLK

HENRY SHAW

END OF DRAWING-ROOM OF A HOUSE AT GREAT YARMOUTH, NORFOLK

could be provided by money or friendship. The preliminaries were carried out on a magnificent scale. â€œThe 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.â€ When the feast began the arrangements were perfect and we are able to imagine the scene. â€œAnon 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: Paulâ€™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.â€ Cavendish goes on to mention the arrangements made for the guests at night, and the whole account reads like an Arabian Nightsâ€™ 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, butthey 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 â€œBaronial Halls and Picturesque Edifices of Englandâ€ 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 â€œKing of the Peakâ€ on account of his magnificent style ofliving, 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 â€œWalk,â€ the â€œDoor,â€ 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 â€œthe inevitability of a Dorothy Vernon and a Lord John,â€ 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 husbandsâ€”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 Â£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,

â€œHardwick Hall,More glass than wall,â€

which was applied to the first-named building for obvious reasons. In those Elizabethan days there was a growing desire to dissipate gloomand 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, â€œIt is too much for a King, though it might do very well for a Lord Treasurerâ€; an observation matched by Queen Victoria, who on visiting Stafford House, now the London Museum, said to the Duchess of Sutherland, â€œI have come from my house to your palace.â€ 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 motherâ€™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 Â£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 theKing, 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 Kingâ€™s health he played a flageolet solo in the enormous cellars, the echo pleasing him greatly. Evelyn described the mansion as â€œIndeede a cheerfull piece of Gotic building, or rather antico moderno,â€ 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 â€œmodernisedâ€ 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 Pilgrimâ€™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 placeâ€”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 Richardsonâ€™s almost photographic drawing represents the exterior as it stands at the present day. A notable building is the Oak House, West Bromwich (PlateVIII). 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 Â£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 â€œHall iâ€™ the Woodâ€ (Plate V), a description which has lost its point as much as the original â€œBolton-le-Moors.â€ Cotton-spinning accounted largely for the transformation, and it is appropriate enough that the Hall iâ€™ 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 â€œmuleâ€ 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 Cromptonâ€™s aid, poverty would have claimed another genius. As a Museum the Hall iâ€™ 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 â€œpoor house of Astonâ€ 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, themansion, together with its surrounding acres, being purchased for general use.

Although Hampton Court (Nashâ€™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 â€œpleasure, leisure, and treasure,â€ 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 Wrenâ€™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, Scottâ€™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, â€œin its perfect state, it must have been a complete museum of English architecture from Norman times to Leicesterâ€™s additions in the reign of Elizabeth.â€

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, â€œCrewe is burning, come and build it up again,â€ 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. â€œSurely,â€ was the reply, â€œa man may be allowed to take a glass of wine before his own fireside.â€ 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

HENRY SHAWHENRY SHAWCHIMNEY-PIECE IN DINING ROOM AT BUCKLING HALL, NORFOLK

HENRY SHAW

HENRY SHAWCHIMNEY-PIECE IN DINING ROOM AT BUCKLING HALL, NORFOLK

HENRY SHAW

CHIMNEY-PIECE IN DINING ROOM AT BUCKLING HALL, NORFOLK

Humphrey Stafford and came into the possession of Sir Christopher Hatton, afterwards becoming one of the seats of the Finch-Hatton family. The mansion is rich in Elizabethan memories and is one of the most interesting architectural relics in the country. There is a story to the effect that it was intended to use the building in 1805 as a place of retirement for the Court in the event of an invasion by Napoleon. Kirby has suffered many vicissitudes. A visitor some seventy years ago wrote: â€œA farmer occupies a suite of rooms the decoration of which would excite astonishment and admiration in a London Club-house. Farm servants sleep surrounded by exquisite carving. One room, decorated with a fine old fireplace in which are the arms of Lord Chancellor Hatton, serves the purpose of a dog kennel.â€ In 1913, when the building was for sale by direction of the Earl of Winchilsea, it was stated that though it had been unoccupied for about sixty years it was capable of restoration.

Loseley House, Surrey (Plate XVII), dates from between 1562 and 1568. The seat of Sir William More, it has descended through the family to the present owner, Mrs. More-Molyneux-MCCowen. It was visited frequently by Queen Elizabeth, who stayed also at the neighbouring Sutton Place. In its best days Loseley was a stately stone building of more than ordinary significance in history, as recorded in â€œThe Loseley Manuscripts,â€ by A. J. Kempe (1836). Structural alterations in the past did not tend to improve its original beauty.

A still earlier example of domestic architecture is the Manor House at East Barsham, Norfolk (Plate XXII), which was begun in the first few years of the sixteenth century. It was built of red brick with terra-cotta decorations, and it must have been a magnificent structure. It fell into a ruinous state and was used as a farmhouse early in the nineteenth century. Another East Anglian building which possessed importance in Tudor times was West Stow Hall, Suffolk (Plate XXI). The fine gatehouse shown in MÃ¼llerâ€™s drawing dominated the rest of the building and survived in a habitable state long after the main edifice had become useless. In a decayed state the place was used for agricultural purposes.

Sawston Hall, Cambridgeshire (Plate IV), was for centuries the residence of the â€œAyntient and Rightworthy Famylie of Hodlestone,â€ the building illustrated being erected about the year 1557. There is a tradition that Queen Mary took shelter in the mansion which preceded this one, and was conveyed thence on horseback to Framlingham. Her pursuers set fire to the building and the Queen said, â€œLet the house burn; I will build Huddleston a better.â€ It is now the seat of Mr. D. Lawlor-Huddleston.

Among the most notable buildings in England is Montacute, an interior of which is illustrated here (Plate XXXI). Its name, derived frommons acutus, explains that it is on a hilly site, from which it overlooks the picturesque village of Montacute. The castle was of Norman origin and was then owned by the Phelips family, the possessor of the present mansion being Mr. W. R. Phelips. Montacute was built at the end of the sixteenth century and gained a reputation for hospitality partly by the inscription over the entrance,

â€œThrough this wide-opening gate,None come too early, none return too late.â€

The place was sacked by Cromwell, who stayed there for a time. When Richardson visited the house it was in poor condition, â€œstripped in a great degree of its internal decorations and left to the mercy of timeâ€; but restorations have been carried out. It is noteworthy that while the walls were richly panelled and decorated the ceilings throughout were kept plain, as indicated in the illustration.

Among other interesting stone buildings erected in Somersetshire may be mentioned Barrington Court (Plate XLI), built for the first Earl of Bridgewater in the time of James I. This gabled mansion, with its twisted chimneys and pinnacles, was once of great beauty, but it fell into disrepair, and in a dilapidated state was occupied by a farmer. In 1907 it was acquired by the National Trust for Places of Historic Interest or Natural Beauty, under whose directions restorations have been effected. The house at South Petherton, in the same county (Plate XXXVII), is an example of the use of tracery, now reserved for ecclesiastical buildings, but once common in domestic architecture.

Dorfold Hall, Cheshire (Plates XXIX and XXX), the residence of Mr. H. J. Tollemache, is a Jacobean mansion about a mile from Nantwich. It is a brick building with stone dressings, the interior being decorated in lavish style. The plaster-work of the ceiling in the Great Chamber was especially ornate, though not so overwhelming, probably, as it seems to be in Richardsonâ€™s drawing.

The illustrations of interiors which are included in this volume are typical of many productions which expressed the fancy of designers and decorators in olden times. Reference has been made to some of them already, and a few more notes may be given in connection with the others. Benthall Hall, Shropshire (Plate II), was built for William Benthallin 1535 on the site of a former house. It was unharmed during the Civil War, but was badly damaged by fire about a hundred years ago. The view of the dining-room, re-peopled by the artist with some of its former tenants, shows the oak fireplace extending to the enriched ceiling. Charlecote, Warwickshire (Plate XVIII), was built in 1558 for Thomas Lucy, who was knighted by Queen Elizabeth and whose portrait with his family is shown in the picture by Jansen over the fireplace. Charlecote is supposed to have beenthe scene of Shakespeareâ€™s youthful escapade, which, perhaps, brought him into the very room depicted by J. G. Jackson. Coombe Abbey, near Coventry (Plate XIX), is of ancient foundation, the first structure being a Cistercian monastery. It came into lay hands in the time of Henry VIII and the place was rebuilt. Since then it has been altered several times, notably from designs by Captain Wynne, and in more recent times by Eden Nesfield. Coombe Abbey, the seat of the Earl of Craven, was the home of the Princess Elizabeth, only daughter of James I, through whose marriage with the Elector Palatine the House of Hanover came to the throne of England. Ford House, Devonshire (Plate XIII), was built for Sir Richard Reynell in 1610 and was the scene of much fighting during the Civil War. It has memories of Charles I and the Prince of Orange. Burton Agnes, Yorkshire (Plate XLVI), the ancient home of the Boyntons, is still in the possession of a member of the family, Mr. T. L. Wickham-Boynton. It is a most interesting Tudor house, both as regards the interior and exterior. Richardsonâ€™s view of the hall, with its semicircular arch leading to the staircase, is obtainable still, though pictures are now to be seen on the walls. Longford Castle, Wiltshire (Plate XLIX), the seat of the Earl of Radnor, is probably the work of John Thorpe. It was begun just before the advent of the Spanish Armada, and it is related that the cost of the foundations was so heavy that the purse of the client, Sir Thomas Gorges, was almost empty. Fortunately one of the Spanish galleons was wrecked near Hurst Castle, the Hampshire fortress of which Sir Thomas became Governor at the time of the threatened invasion. It was in Longford Castle that Holbeinâ€™s Ambassadors was to be seen for so many generations, before it was removed with other pictures to the National Gallery, London, about a quarter of a century ago.

Among the illustrations are several showing the panelling which once adorned, and in some cases still helps to furnish, the mansions erected in other days. Some of the woodwork was kept in its natural state, and some was gilt or otherwise embellished; but the craftsmanship was always of supreme interest. The panelling surrounding the drawing-room at Boughton Malherbe, Kent (page 7), was of various woods and was coloured. The marquetry work in the dining-room at Gilling Castle, Yorkshire (page 13), was very elaborate and beautiful in its own way, like the other decorations in this apartment, which measured 39 by 22 feet. Exceptionally fine work was also placed in the drawing-room at Stockton House, Wiltshire (Plate XXXV). The decorations of a room at Great Yarmouth provided Shaw with inspiration (page 19), and so did those at Blickling Hall, Norfolk (page 29). The latter name is associated with the Boleyn family, and with the early days of the unfortunate Queen. The residence of the Boleyns, however, must have been earlier than the present one. The property was purchased inQueen Elizabethâ€™s day by Sir Henry Hobart, whose descendant, the Marquis of Lothian, is now the owner. The existing Blickling Hall was built in Jacobean times, and it will be seen that the date on the chimney-piece is 1627.

Nothing less than a monograph on every one of the Old English Mansions would suffice to do justice to their historic and artistic glories. A great deal can be left unsaid, however, without minimising our appreciation, and such implied praise may be taken for granted in the present case. Imperfect though some of these old buildings may have been in several ways, they are among the classics in architecture and their appeal is continual. Generous in scale, well-built, decorated with high-spirited talent, and occupied from time to time by people who, if they do not always command our admiration, at least compel our interest, these houses have become a part of the national life. If in some cases they have suffered demolition or sacrilege, the fact should inspire us to spare no efforts to keep the remaining examples intact and to leave them as a heritage. They please because of their distant past, perhaps, but they also attract for what they possess in value at the present time. They are too precious to be sacrificed.

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