We have already pointed out the simplicity of outline observable
in old English cottages, and the absence of exaggeration and that
disagreeable fussiness brought about by too much striving after the
picturesque. It must not, however, from this be concluded that ancient
village buildings are always plain and do not at times possess elegant
ornamentation and graceful details.
The general outline, however, is always simple and quiet, for, as will
be seen by the examples we give (two of the most elaborate cottages in
England), the roof lines are very little broken up or varied.
The first of these buildings is at Clare in Suffolk, and the second is
at Newport in Essex, the latter being one of the richest counties in
England for cottage architecture, many of its villages retaining quite
a mediæval aspect down to the present time.
We will now say a few words upon the methods of applying ornamental
detail to cottages adopted in mediæval times, and we shall commence
with those structures erected in "Post-and-pan" construction. We trust
that our readers have not forgotten what is meant by the ugly-sounding
expression "Post-and-pan," and regret that we are quite unable to
discover or invent some more elegant name for this description of
building. Some years back a number of architects and archæologists
were examined before a parliamentary commission. The commission
objected to the words "Post-and-pan" being used in their report, and
suggested to the witnesses that they should find some more scientific
expression for this kind of work! It was found, however, impossible to
invent any one which conveyed the idea so concisely and satisfactorily,
so the old-fashioned name "Post-and-pan" received parliamentary
sanction! This being the case, our girls need not scruple to use it,
and may it not, after all, be as valuable for the formation of the lips
as the "prunes" and "prism" of Little Dorritt?
There are several ways of applying ornamentation to "Post-and-pan"
buildings. The first is to add mouldings, tracery or carving, to the
doorways, windows, cornices, corbels and other constructive parts of
the building.
The second is to arrange the "posts" in patterns by introducing curved
beams amongst them, or other woodwork, forming a kind of tracery
pattern.
The third is to adorn the "pans" (panels) either with stamped
plaster-work called "pargeting," or with coloured plaster-work, or
wood-carving.
The first of these methods is seen in the beautiful example which we
have sketched at Newport in Essex: here it will be noticed that the
bow window of the upper storey is adorned with wood tracery, and its
corbel richly carved with figure subjects, all executed in oak. The
"spurs," as they are called, which carry the projection of the upper
storey, are richly moulded and rest upon elegant little colonnettes.
The pans are filled in with brickwork laid in herring-bone patterns.
The centre of the building is recessed back, but in order to preserve
the severe and simple lines of the roof, the latter does not follow
the line of the recess, but is supported upon an arched beam, from the
centre of which projects a lifting-crane, a treatment quite peculiar to
the home counties and the south of England.
Of course this building is far more elaborate than most cottages, and
the tradition of the place accounts for this by the supposition that it
was formerly the dwelling of a farm bailiff to the Abbot of Westminster.
The beautiful little village of Newport has several examples of
interesting domestic work and a very noble church.
The building which we illustrate dates from the 15th century, and is
still in excellent repair though not in any way restored.
The very elaborate cottage represented in our first sketch is an
excellent example of pargeting, the surface of the pans being covered
by a rich kind of shawl-pattern executed in hard plaster, like the
Newport example. The constructive portions of the building are
elaborately treated. We are unable to account for the amount of
elaboration bestowed on this cottage, but as it is close to the church,
which is a very handsome building and liberally endowed with chantries,
it is very probable that this may have been the dwelling of one of the
chantry priests.
Clare was an important place in the Middle Ages and possessed a castle,
remains of which are still to be seen. Richard Strongbow, the Conqueror
of Ireland, is said to have lived in it.
The Manor of Clare in later times belonged to Edmund Mortimer, Earl of
March. There was also a priory here, built in 1248 by Richard, Earl of
Gloucester.
A very curious poem exists in the form of a dialogue, "betwixt a
secular askyng and a frere answering at the grave of Dame Johan of
Acris" (of Clare). It is a quaint example of Old English and begins in
rather a curious manner.
Q. "What man lyeth here, sey me, Sir Frere?"
A. "No man."
Q. "What ellis?"
A. "It is a woman."
Then follows her pedigree all in rhyme, from which it appears that she
was a daughter of King Edward I., and the remarkable circumstance is
stated, that she was borne of her "moder"!
As the poem is about three pages long and all pretty much like the
sample we have given, we will not inflict it upon our readers.
H. W. BREWER.
[Illustration: AT NEWPORT, ESSEX.]
ABOUT PEGGY SAVILLE.
BY JESSIE MANSERGH (Mrs. G. de Horne Vaizey), Author of "Sisters
Three," etc.