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.
[Illustration: CASTLE ASHBY, NORTHAMPTONSHIRE]
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.
[Illustration]
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.
[Illustration]
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.
[Illustration:
Day & Son, Lithᵗʰ. to The Queen.
KIRBY HALL, NORTHAMPTONSHIRE]
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.”
[Illustration:
From a drawing by T. Allom Day & Son, Lith.ʳˢ. to The Queen.
]
WOLLATTON HALL,
NOTTINGHAMSHIRE.
Wollatton Hall, the seat of the Right Hon. Digby Willoughby, the seventh
Baron Middleton, is situate three miles west of Nottingham, in the
centre of a finely wooded park, remarkable for a judicious combination
of wood and water. It stands on a considerable elevation, and is seen
from all parts of the surrounding country; of which, consequently, it
commands extensive views--not only of rich and fertile valleys, but of
one of the busiest and most populous of manufacturing towns. We give on
this page an engraving of the north entrance to the mansion.
The mansion was erected by Sir Francis Willoughby, Knt., towards the
close of the sixteenth century, as we learn from an inscription
[Illustration]
over one of its entrances. In the old history of the county of
Nottingham by Thoroton there is a descent of this family, down to the
builder of the present Mansion, whose daughter Bridget married Sir
Percival Willoughby, of another branch of the family. Sir Percival left
five sons, the eldest of whom, Sir Francis, who died in 1665, was father
of Francis Willoughby, Esq., one of the greatest _virtuosi_ in Europe.
His renowned history of birds was published in Latin after his death, in
1676. He died in 1672, leaving two sons and one daughter. The latter,
Cassandra, was married to James Duke of Chandos. The eldest son died
unmarried, in his twentieth year. The second son was created a peer in
the tenth of Queen Anne, A.D. 1711. In 1781, on the death of Thomas Lord
Middleton without issue, the estate and its honours descended to Henry
Willoughby, Esq., of Birdfall, county of York. It is a remarkable
circumstance, that up to the present time the heir-at-law, in
consequence of there being no proximate issue, has always been a remote
member of the family.
The exterior of the mansion is peculiarly grand and imposing. It is in
the fashion of Queen Elizabeth’s reign,--or rather the fashion just then
beginning to be introduced,--and is in the Italian style, but of Gothic
arrangement. It is square, with four large towers adorned with
pinnacles; and in the centre the body of the house rises higher, with
projecting coped turrets at the corners. The front and sides are adorned
with square projecting Ionic pilasters; the square stone pillars are
without tracery; and “the too great uniformity of the whole is broken by
oblong niches, circular ones filled
[Illustration]