Chapter VI: Part 6

Near Whiteladies is the rival establishment Blackladies, a picturesque red-brick house with step-gables and mullioned bays. As the name implies, this also was a nunnery, but there are but scanty remains of the original building. There is a stone cross, and some other fragments are built into the masonry; and in the stables may be seen the chapel, where services were held until sixty years ago. Part of the moat also remains. A lane near at hand is still known as "Spirit Lane," because the Black Nuns of centuries ago have been seen to walk there.

FOOTNOTES:

[28] See _Flight of the King_.

IN NORTHERN DERBYSHIRE

Our first impression of romantic Derbyshire vividly recalled one of the opening chapters of _Adam Bede_. Having secured lodgings at a pretty village not many miles from Haddon, we were somewhat disturbed with nocturnal hammerings issuing from an adjacent wheelwright's. Somebody had had the misfortune to fall into the river and was drowned, so we learned in the morning, and the rest we could guess. Somewhat depressed, we were on the point of sallying forth when the local policeman arrived and demanded our presence at the inquest, as one of the jurymen had failed to put in an appearance. A cheerful beginning to a holiday!

There is something about dear old Haddon Hall that makes it quite unique, and few ancient baronial dwellings are so rich in the poetry of association. In the first place, though a show house, one is not admitted by one door and ejected from another with a jumbled idea of what we have seen and an undigested store of historical information. One forgets it is a show place at all. It is more like the enchanted castle of the fairy story, where the occupants have been asleep for centuries; and in passing through the grand old rooms one would scarcely be surprised to encounter people in mediaeval costume, or knights in clanking armour. The lovers of historical romance for once will find pictures of their imagination realised. They can fit in favourite scenes and characters with no fear of stumbling across modern "improvements" to destroy the illusion and bring them back to the twentieth century. Compare the time-worn grey old walls of this baronial house with those of Windsor Castle, and one will see the havoc that has been done to the latter by centuries of restoration. Events that have happened at Haddon appear to us real; but at Windsor, so full of historic memories, there is but little to assist the imagination.

The picturesqueness of Haddon is enhanced by its lack of uniformity. The rooms and courtyards and gardens are all on different levels, and we are continually climbing up or down stairs. The first ascent to the great entrance gate is precipitous, and some of the stone steps are almost worn away with use. Entering the first courtyard (there are two, with buildings around each) there is another ascent, with a quaint external staircase beyond, leading to the State apartments, and to the left again there are steps by which the entrance of the banqueting-hall is reached.

Opposite is the chapel, with its panelled, balustraded pews and two-decker Jacobean pulpit, which is very picturesque; and the second courtyard beyond, to the south of which is the Long Gallery or ballroom, with bay-windows looking upon the upper garden, from which ascend those well-known and much photographed balustraded stone steps to the shaded terrace-walk and winter garden, above which, and approached by another flight of steps, is Dorothy Vernon's Walk, a romantic avenue of lime and sycamore. Facing the steps and screened by a great yew tree is yet another flight, with ball-surmounted pillars, leading to the "Lord's Parlour," or Orange Parlour as it was formerly called; and from this picturesque exit the Haddon heiress eloped with the gallant John Manners, and by so doing brought the noble estate into the possession of the Dukes of Rutland.

An elaborately carved Elizabethan doorway leads here from the ballroom, which is rich in carved oak panelling and has a coved ceiling bearing the arms and crest of the Manners and Vernons. By repute, all the woodwork, including the circular oak steps leading to the apartment, was cut from a single tree in the park. The ash-grey colour of the wood is caused by a light coat of distemper, which it has been surmised was added at some time to give it the appearance of cedar. Not many years ago there was a controversy upon this subject, which resulted in some ill-advised person obtaining leave to anoint a portion of the panelling with boiled oil. The result was disastrous, and led to an indignant outcry from artists and architects; but fortunately the act of vandalism was stopped in time, and the muddy substance removed. The wainscoting consists of a series of semicircular arches divided by fluted and ornamental pillars of different heights and sizes, the smaller panels being surmounted by the shields of arms and crests of the ancient owners of the Hall, above which is a bold turreted and battlemented cornice.

The old banqueting-hall is rather cosier looking than the famous hall of Penshurst. The narrow, long oak table with its rustic settle is somewhat similar, but later in character than those at Penshurst, and has a grotesque arrangement of projecting feet. The hall is all nooks and corners. Below a projecting gallery is a recess for the wide well-staircase, with its little gates to keep the dogs downstairs, and a lattice-paned window lighting up the uneven lines of the floor. The walls are panelled, and there is a wide open fireplace, and the screen has Gothic carvings. Attached to the framework is an iron bracelet, to enforce the duty of a man drinking his due portion in the good old days. The penalty was before him, so should he fail, he knew his lot, namely, to have the contents of the capacious black jack emptied down his sleeve. The withdrawing-room to the south of the hall is richly wainscoted in carved oak, with a recessed window containing a fixed settle and a step leading down to a genuine cosy-corner. There are some who believe our ancestors had no idea of comfort; but picture this fine old room in the winter, with blazing logs upon the fantastic fire-dogs, the warm red light playing upon the various armorial carvings of the frieze, and the quaint little oriel window half-cast in shadow. The apartment immediately above has a still more elaborate frieze of ornamental plaster above the rich tapestry hangings, and the bay-window in the wainscoted recess, like that beneath, looks upon the gardens, with the graceful terrace on the left and the winding Wye and venerable bridge below. The circular brass fire-dogs are remarkable.[29] The "Earl's Bedchamber" and "Dressing-Room" and the "Lady's Dressing-Room" have tapestried walls and snug recessed windows. The "State Bedroom" was formerly the "Blue Drawing-room." This also is hung with tapestry, and the recessed window has a heavy ornamental frieze above. Near the lofty plumed bedstead, with green silk-velvet hangings, is a queer old cradle, which formerly was in the chaplain's room on the right-hand side of the entrance gate. But to describe the numerous rooms in detail would be tedious. Everything is on a huge and ponderous scale in the kitchens and offices; one is almost reminded of the giant's kitchen in the pantomime. Among the curious and obsolete instruments one encounters here and there, there is a wooden instrument like a colossal boot-jack for stringing bows. It stands against the wall as if it were in daily use. Though there is some good old furniture, one would wish to see the rooms less bare. But let us turn to the famous Belvoir manuscripts, which not so very long ago were discovered much rat-eaten in a loft of that historic seat of the Earls of Rutland. It is interesting after a visit to Haddon to dip into these papers and get some idea of what the old Hall was like in its most flourishing days. The great bare ballroom must have looked very grand in the days of Charles I., with the coved ceiling brilliant with paint and gilt. In addition to a "gilded organ," were two "harpsicalls" and a "viall chest with a bandora and vialls; a shovel-board table on tressels; a large looking-glass of seventy-two glasses, and four pictures of shepherds and shepherdesses." Sixteen suits of armour adorned the screen of the great hall. The massive oaken tables and cabinets displayed a wealth of silver and gilt plate, including a "greate quilte doble sault with a peacock" (the crest of the Manners) "on the top"; silver basins, ewers, and drinking bowls; a warming-pan, two little boats; four porringers with spoons for the children, a "maudlin" cup and cover, etc.

Among the rooms were the "Green Chamber," the "Rose Chamber," the "Great Chamber," the "Best Lodging," the "Hunters' Chamber," the "School-house Chamber," the "Nursery," the "Smoothing Chamber," the "Partridge Chamber," "Windsor," the "Little Gallery," etc. "The uppermost chamber in the nether tower" is almost suggestive of something gruesome, while "my mistress's sweetmeat closet" sounds tempting; and a list of contents included things to make the juvenile palate water--"Glasses of apricots, marmalett, and currants, cherry marmalett, dried pears and plums and apricots, preserved and grated oranges, raspberry and currant cakes, conserved roses, syrup of violets," etc. These things perhaps are trivial, but there is a domesticity about them by which we may think of Haddon as a country home as well as a historic building.

Haddon ceased to be a residence of the Dukes of Rutland more than a century ago. In the days of the Merry Monarch the ninth earl kept open house in a very lavish style. It is said the servants alone amounted to one hundred and forty; and capacious as are the ancient walls, it is a marvel how they all were housed. The romantic Dorothy, who a century before ran away upon the evening of a great ball, was the daughter of the "King of the Peak," Sir George Vernon, thus nicknamed for his lordly and open-handed way of living. She died in 1584, and Sir George Manners, the eldest of her four children, sided with the Parliament during the Civil Wars. But his mode of living was by no means puritanical, and Haddon was kept up in its traditional lavish style. In Bakewell church there is a fine marble tomb representing him and his wife and children, as well as the tomb of the famous Dorothy and her husband, Sir John Manners. The family crest, a Peacock in his pride, that is, with his tail displayed, so conspicuous with the Vernon boar's head in the panelling and parqueting of Haddon, gives its name to the most delightful of ancient hostelries at Rowsley. The proximity of the mansion must have made its fortune over and over again, apart from its piscatorial attractions. The gable ends and latticed windows, and the ivy-grown battlemented porch and trim gardens, are irresistible, and no one could wish for quarters more in harmony with the old baronial Hall.

In striking contrast to the sturdy ruggedness of hoary Haddon is princely Chatsworth. The comparison may be likened to that between a mediaeval knight and a gorgeous cavalier. The art treasures and sumptuous magnificence of Chatsworth, the elaborate and graceful carvings (which by the way are not nearly all by the hand of Gibbons, but by a local man named Samuel Watson), and the beauty of the gardens, make it rightly named the "Palace of the Peak." But it is its association with the luckless Mary Queen of Scots which adds romantic interest to the mansion,--not that the existing classical structure can claim that honour, for nothing now remains of the older building, a battlemented Tudor structure with an entrance like the gatehouse of Kenilworth Castle, and a "gazebo" on either side of the western front. It is odd, however, that Lord Burleigh should have selected it as "a mete house for good preservation" of a prisoner "having no toure of resort wher any ambushes might lye," for there were no less than eight towers, but presumably not the kind the Lord High Treasurer meant. During her twelve years' captivity in Sheffield (where, by the way, "Queen Mary's Chamber," with its curious heraldic ceiling, may still be seen in the manor-house), she was frequently at Chatsworth and Wingfield Manor under the guardianship of George Talbot, sixth Earl of Shrewsbury, the fourth husband of that remarkable woman, Bess of Hardwick, who was not a little jealous of her husband's fascinating captive, and circulated various scandalous stories, about which the Earl thought fit to justify himself in his own epitaph in St Peter's church, Sheffield. When the important prisoner was under his custody in that town, she was not permitted to go beyond the courtyard, and usually took her exercise upon the leads. But at Chatsworth her surveillance was less strict, although truly John Beaton, the master of her household (who predeceased his mistress, and was buried at Edensor close by, where a brass to his memory remains), had strict instructions regarding her. Her attendants, thirty-nine in all, were none of them allowed to go beyond the precincts of the grounds without special permission, nor was anybody allowed to wait upon the queen between nine o'clock at night and six in the morning. None were sanctioned to carry arms; and when the fair prisoner wished to take the air, Lord Shrewsbury had to be informed an hour beforehand, that he and his staff might be upon the alert. One can picture Mary and her maids of honour engaged in needlework upon the picturesque moated and balustraded stone "Bower" near the river, with guards around ever on the watch. This and the old Hunting-tower high up among the trees, a massive structure with round Elizabethan towers, are the only remains to take us back to the days of the Scots queen's captivity.

To see Chatsworth to perfection it should be visited when the wooded heights in the background are rich in their autumnal colouring. The approach from Beeley village through the park and along the bank of the Derwent at this season of the year, and the view from the house and avenues of the river and park, are particularly beautiful. The elaborate waterworks recall the days of the grand monarque, and an _al fresco_ shower-bath may be enjoyed beneath a copper willow tree, the kind of practical joke that was popular in the old Spring Gardens in London in Charles II.'s time. In addition to the splendid paintings, are numerous sketches by Raphael, Michael Angelo, Titian, etc., which came from the famous forty days' sale of 1682, when the works collected by Sir Peter Lely were dispersed.

Of the stately mansions erected by Bess of Hardwick, the building Countess of Shrewsbury,--Chatsworth, Oldcotes, Hardwick, Bolsover, and Worksop,--Hardwick is the most untouched and perfect. The last remaining bit of the older Chatsworth House was removed just a century after Bess's death, so the present building must not be associated with her name, nor indeed can any rooms at Hardwick have been occupied by Mary Queen of Scots, as is sometimes stated, for the house was not begun until after her death. If the queen was ever at Hardwick, it was in the older mansion, of which very considerable ruins remain. The error, of course, arises from one of the rooms at Hardwick being named "Mary Queen of Scots' room," which contains the bed and furniture from the room she occupied at Chatsworth; and the velvet hangings of the bed bearing her monogram, and the rich coverlet, are indeed in her own needlework.

Bess of Hardwick in many respects was like her namesake the strong-minded queen; and when her fourth better-half had gained his experience and sought sympathy from the Bishop of Lichfield, he received the following consoling reply: "Some will say in yor L. behalfe tho' the Countesse is a sharpe and bitter shrewe, and, therefore, licke enough to shorten yr life, if shee shulde kepe you company. Indede, my good Lo. I have heard some say so; but if shrewdnesse or sharpnesse may be a just cause of sep[ar]acon betweene a man and wiefe, I thinke fewe men in Englande woulde keepe their wiefes longe; for it is a common jeste, yet treue in some sense, that there is but one shrewe in all the worlde, and evy man bathe her; and so evy man might be rydd of his wife, that wolde be rydd of a shrewe." But with all her faults the existence of Hardwick and Bolsover alone will cover a multitude of sins. A fortune-teller predicted that so long as she kept building she would never die; and had not the severity of the winter of 1607 thrown her masons out of employment, her ladyship might have survived to show us what she could do with the vacant space at Aldwych.

There is something peculiarly majestic and stately about Hardwick Hall. It is one mass of lofty windows. It is rarely occupied as a dwelling, and one would like to see it lighted up like Chatsworth at Christmas time. But with the setting sun shining on the windows it looks a blaze of light--a huge beacon in the distance. With the exception of the ornamental stone parapet of the roofs, in which Bess' initials "E.S." stand out conspicuously, the mansion is all horizontal and perpendicular lines; but the regularity is relieved by the broken outline of the garden walls, with their picturesque array of tall halberd-like pinnacles.

Like Knole and Ham House, the interior is untouched, and every room is in the same condition since the time of its erection. Some of the wonderful old furniture came from the older Chatsworth House, including, as before stated, the bedroom furniture of Mary Queen of Scots. Nowhere in England may be seen finer tapestries than at Hardwick; they give a wealth of colour to the interior, and in the Presence-chamber the parget-work in high relief is also richly coloured. Here is Queen Elizabeth's State chair overhung by a canopy, and the Royal arms and supporters are depicted on the pargeting. The tapestries lining the walls of the grand stone staircase are superb, and the silk needlework tapestry in some of the smaller rooms a feast of colour. Everywhere are the grandest old cushioned chairs and settees, and inlaid cabinets and tables. The picture-gallery extends the entire length of the house, and abounds in historical portraits, including Bess of Hardwick dressed in black, perhaps for one of her many husbands, with a black head-dress, large ruff, and chain of pearls. Here also is a full-length portrait of her rival, the luckless queen, very sad and very pale, painted, during her nineteen years of captivity, at Sheffield in 1678, and a portrait of her little son James at the age of eight,--a picture sent to comfort the poor mother in her seclusion. The future king's cold indifference to his mother's fate was not the least unpleasant trait of his selfish character. In a discourse between Sir John Harrington and the monarch, the latter did his best to avoid any reference to the poor queen's fate; but he might have saved himself the trouble, for he was more affected by the superstitious omens preceding her execution. His Highness, he says, "told me her death was visible in Scotland before it did really happen, being, as he said, spoken of in secret by those whose power of sight presented to them a bloody head dancing in the air." From James we may turn to little Lady Arabella Stuart in a white gown, nursing a doll in still more antiquated costume, in blissful ignorance of her unhappy future. She was the granddaughter of Bess of Hardwick, and was born at Chatsworth close upon the time when the Queen of Scots was there. Looking at these two portraits of this baby and the boy, it is difficult to imagine that the latter should have sent his younger cousin to linger away her life and lose her reason in the Tower from the fact that she had the misfortune to be born a Stuart.

Horace Walpole in speaking of this room says: "Here and in all the great mansions of that age is a gallery remarkable only for its extent." But it is remarkable for its two huge fireplaces of black marble and alabaster, for its fine moulded plaster ceiling, for its fifteenth-century tapestry, and quaint Elizabethan easy-chairs. The great hall is a typical one of the period, with open screen and balustraded gallery, a flat ceiling, big open fireplace, and walls embellished with antlers and ancient pieces of armour. When the mansion was completed in 1597 the older one was discarded and the furniture removed, and the walls were gradually allowed to fall into ruin. It is now but a shell; but one may get a good idea of the style of building and extent, as well as of the internal decorations. It appears to be of Tudor date, almost Elizabethan in character, and over the wide fireplaces are colossal figures in bold relief, emblematic, perhaps, of the giant energy of Bess of Hardwick, who spent the greater part of her lifetime in those old rooms. Tradition says she died immensely rich, but without a friend. She survived her fourth husband seventeen years and was interred in the church of All-Saints', Derby, where the mural monument of her recumbent effigy had been erected under her own superintendence.

To the south-west of Hardwick, and midway between Derby and Sheffield, are the ruinous remains of another old residence of Lord Shrewsbury's, associated with the captivity of Mary Queen of Scots. This is South Wingfield manor-house, whither she was removed from Tutbury Castle prior to her first sojourn at Chatsworth, and whence she was removed back to Tutbury in 1585. By this time Shrewsbury had freed himself of the responsible custodianship: a thankless and trying office, for Elizabeth was ever suspicious that he erred on the side of leniency. A letter addressed from Wingfield Manor, from Sir Ralph Sadleir to John Manners, among the Belvoir manuscripts, and dated January 6, 1584-85, runs as follows: "The queenes majestie hath given me in chardge to remove the Queene of Scots from hence to Tutbury, and to the end she should be the better accompanyed and attended from thither, her highness hath commanded me to gyve warning to some of the gentlemen of best reputation in this contry to prepare themselfs to attend upon her at the time of her removing. I have thought good to signify the same unto you emonge others, and to require you on her Majesties behalf to take so much paine as to be heere at Wingfield upon wednesday the xiiith of this moneth at a convenient tyme before noone to attend upon the said queene the same day to Derby and the next day after to Tutbury." Of the State apartments occupied by her there are no remains beyond an external wall, but the battlemented tower with which they communicated, and from which the royal prisoner is said to have been in secret touch with her friends, is still tolerably perfect.

In the Civil War the brave old manor-house stood out stoutly for the Royalists, but at length was taken by Lord Grey. The governor, Colonel Dalby, was on the point of making his escape from the stables in disguise when he was recognised and shot. The stronghold shortly afterwards was dismantled, but in Charles II.'s reign was patched up again and made a residence, and so it continued until little more than a century ago. The village of Ashover, midway between Wingfield and Chesterfield, is charmingly situated on the river Amber amidst most picturesque scenery. Here in 1660, says the parish register, a certain Dorothy Mady "forswore herself, whereupon the ground opened and she sank overhead!" There are some old tombs to the Babingtons, of which family was Anthony of Dethick-cum-Lea, nearer Matlock, where are slight remains of the old family seat incorporated in a farmhouse. As is well known, it was the seizure of the Queen of Scots' correspondence with this young desperado, who with Tichborne, Salisbury, and other associates was plotting Elizabeth's assassination, that hastened her tragic end at Fotheringay.

Bolsover Castle, which lies directly north of Hardwick, has a style of architecture peculiar to itself. It is massive, and grim, and prison-like, with a strange array of battlements and pinnacles; and Bess of Hardwick showed her genius in making it as different as possible from her other residences. And the interior is as fantastic and original as the exterior. Altogether there is something suggestive of the fairy-tale castle; and the main entrance, guarded by a giant overhead and bears on either side, has something ogre-like about it. The rooms are vaulted and supported by pillars, some of them in imitation of the earlier castle of the eleventh and twelfth centuries. They are a peculiar mixture of early-English and Renaissance, but the effect is very pleasing and picturesque. The main arches of the ceiling of the "Pillar parlour" are panelled and rest on Elizabethan vaulting-shafts, and the ribs are centred in heavy bosses. The semicircular intersections of the walls are wainscoted walnut wood, richly gilt and elaborately carved, and there are early-Jacobean hooded fireplaces and queer old painted and inlaid doors and window-shutters. The largest of these rooms is the "Star chamber," so called from the golden stars on the ceiling depicted on blue ground, representing the firmament. In these gorgeous rooms Charles I. was sumptuously entertained by the first Duke of Newcastle. In what is called the "Riding house," a roofless Jacobean ruin of fine proportions, Ben Jonson's masque, _Love's Welcome_, was performed before the king and queen. Clarendon speaks of the stupendous entertainment (that cost some fifteen thousand pounds) and excess of feasting, which, he says, "God be thanked!--no man ever after imitated." The duke (then marquis), who had been the king's tutor, was a playwriter of some repute, though Pepys does not speak highly of his ability, saying his works were silly and tedious.[30] His eccentric wife had also literary inclinations, and wrote, among other things, a high-flown biography of her spouse, which the Diarist said showed her to be "a mad, conceited, ridiculous woman, and he an asse to suffer her to write what she writes to him and of him." This romantic and theatrical lady was one of the sights of London when she came to town in her extravagant and antiquated dress, and always had a large crowd around her. The practical joke played upon her at the ball at Whitehall, mentioned in de Gramont's _Memoirs_, is amusing, but commands our sympathy, and is a specimen of the bad taste of Society at the time.

The romantic situation of the castle, perched upon a steep promontory overlooking a dense mass of trees, must have been quite to the old duchess's taste; and one can picture her walking in state in the curious old gardens as she appears in her theatrical-looking portrait at Welbeck. According to local tradition there is a subterranean passage leading from the castle to the church, which was formerly entered by a secret staircase running from the servants' hall; and there are stories of a hidden chapel beneath the crypt, and ghosts in Elizabethan ruffles. The Cavendish Chapel in the church was erected by Bess of Hardwick's younger son, Sir Charles Cavendish, father of the first Duke of Newcastle, and contains his tomb, a gorgeous Jacobean monument.

Some of the remote villages in the wild and beautiful Peak district have strong faith in their traditional superstitions and customs. An excellent way for a young damsel to discover who her future husband is to be is to go to the churchyard on St. Valentine's Eve, and when the clock strikes the hour of midnight, if she runs round the church she will see the happy man running after her. It has never been known to fail, perhaps from the fact that it has never been tried, for it is very doubtful if a girl could be found in Derbyshire or any other county with sufficient pluck to test it. An old remedy for the toothache was to attract the "worm" into a glass of water by first inhaling the smoke of some dried herbs. Those who had plenty of faith, and some imagination, have actually seen the tiny offender. Maypoles and the parish stocks are still to be found in nooks and corners of the Peak and farther south, and that pretty custom once prevailed of hanging garlands in memory of the village maidens who died young. From a little crown made of cardboard, with paper rosettes and ornaments, pairs of gloves cut out of paper were suspended fingers downwards, with the name of the young deceased and her age duly recorded upon them. And so they hang from the oak beams of the roof. In Ashford church, near Haddon, there is quite a collection of them suspended from a pole in the north aisle. The oldest dates from 1747, but the custom was discontinued about ninety years ago. In Hampshire, however, these "virgins' crowns" are still made. At the ancient village church of Abbotts Ann, near Andover, there are about forty of them, and only the other day one was added with due ceremony. The garland was made of thin wood covered with paper, and decorated with black and white rosettes, with fine paper gloves suspended in the middle. It was carried before the coffin by two young girls dressed in white, with white shawls and hoods, who each held one end of a white wand from which the crown depended. During the service it was placed upon the coffin by one of the bearers, and at the close was again suspended from the wand and borne to the grave. It was afterwards laid on a thin iron rod branching from a small shield placed high up on the wall of the nave of the church. One of these garlands may still be seen in St. Albans Abbey.

Another pretty custom is that of "well-dressing," which yet survives at the village of Tissington above Ashbourne, and of recent years has been revived in other Derbyshire villages, like the modern modified May-day festivities. It dates from the time of the Emperor Nero, when the philosopher Lucius Seneca told the people that they should show their gratitude to the natural springs by erecting altars and offering sacrifices. The floral tributes of to-day, which are placed around the wells and springs on Holy Thursday, are of various devices, made mostly of wild flowers bearing biblical texts; and the village maidens take these in formal procession and present them after a little consecration service in the church. One would like to see this pretty custom revived in other counties.

At Hathersage, beautifully situated among the hills some eight miles above Bakewell, Oak Apple Day is kept in memory by suspending a wreath of flowers on one of the pinnacles of the church tower. The interior, with its faded green baize-lined box-pews duly labelled with brass plates bearing the owners' names, has a charming old-world appearance. In the church is a fine altar-tomb and brasses to the Eyres of North Lees, an ancient house among the hills of the Hoodbrook valley.

The ancient ceremony of rush-bearing at Glossop, formerly connected with the church, has, we understand, degenerated into a "public-house show"; which is a pity. In Huntingdonshire, however, there was until some years back a somewhat similar custom of strewing green rushes, from the banks of the river Ouse, on the floor of the old church of Fenstanton, near St. Ives; but in Old Weston, in the same county, newly mown grass is still strewn upon the floor of the parish church upon the village feast Sunday: the festival of St. Swithin. The original ceremony of "rush-bearing," a survival of the ancient custom of strewing the floors of dwellings with marsh rushes, was a pretty sight. A procession of village maidens, dressed in white, carried the bundles of rushes into the church (accompanied, of course, by the inevitable band), and hung garlands of flowers upon the chancel rails. The festival at Glossop, and in places in the adjoining county of Cheshire, however, was more like the last survival of May-day: the monopoly of sweeps,--a cart-load of rushes was drawn round the village by gaily bedecked horses with a motley band of morris-dancers accompanying it, who, having made a collection, resorted to the public-house before taking their bundles to the church. Had they reversed the order of things it is possible the custom in some places would have been suffered to continue. Until a comparatively recent date the floor of Norwich Cathedral was strewn with rushes on Mayor's day; and there is still preserved among the civic treasures a wonderful green wickerwork dragon hobby-horse, or rather hobby-dragon, with wings, and movable jaws studded with nails for teeth, which always made its appearance in the streets on these days of public festival.

FOOTNOTES:

[29] They have been reproduced most carefully for the drawing-room of the Cedar House at Hillingdon.

[30] _Pepys' Diary_, March 18, 1667-68.

NOOKS IN YORKSHIRE

In a journey across our largest county, so famous for its grand cathedrals and ruined castles and abbeys, one could not wish for greater variety either in scenery or association. Between the Queen of Scots' prison in Sheffield Manor and the reputed Dotheboys Hall a few miles below the mediaeval-looking town of Barnard Castle, there is vast difference of romance; and yet what more unromantic places than Bowes or Sheffield! Indeed, take them all round, the towns and villages of Yorkshire have a grey and dreary look about them; and the houses partake of the pervading character, or want of character, of the busy manufacturing centres. But the natural scenery is quite another matter, and with such lovely surroundings one often sighs that the picturesque and the utilitarian are so opposed to one another. We do not, however, merely allude to the buildings in the southern part of the county, for many villages in the prettiest parts have nothing architecturally attractive about their houses. The snug creeper-clad cottage, so familiar in the south of England, is, comparatively speaking, a rarity, and one misses the warmth of colour amid the everlasting grey.

The express having dropped us in nearly the southernmost corner, our object is to get out of the busy town of Sheffield as quickly as possible; but, as before stated, romance lingers around the remains of the ancient seat of the sixth Earl of Shrewsbury, who lies buried in the parish church, for under his charge the Scots' queen remained here a prisoner for many years; and Wolsey, too, was brought here on his way to Leicester.

Upon the road to Barnsley there is little to delay us until we come to a turning to the right a couple of miles or so to the south of the town. After the continual chimney-shafts the little village of Worsborough is refreshing. The church has many points of interest. The entrance porch has a fine oak ceiling with carved bosses, and the original oak door is decorated with carved oak tracery. The most interesting thing within is the monument to Sir Roger Rockley, a sixteenth-century knight whose effigy in armour lies beneath a canopy supported by columns very much resembling a four-poster of the time of Henry VII. The similarity is heightened by the fact that the tomb is entirely of carved oak, painted and gilded. The bed, however, has two divisions, and beneath the recumbent wooden effigy of Sir Roger with staring white eyes, is the gruesome figure of a skeleton in a shroud, also made more startling by its colouring. How the juvenile Worsboroughites must dread this spectre, for its position in the church is conspicuous! There is a brass to Thomas Edmunds, secretary to William, Earl of Strafford, who lived in the manor-house close by, a plain stone gabled house with two wings and a small central projection. It is a gloomy looking place, and once possessed some gloomy relics of the martyr king, including the stool upon which he knelt on Whitehall scaffold. These relics belonged to Sir Thomas Herbert, the close attendant upon Charles during the later days of his imprisonment, and descended to the Edmunds family by the marriage of his widow with Henry Edmunds of Worsborough.[31] The park presumably has become public property, and the road running through it is much patronised by the black-faced gentlemen of the neighbouring collieries. Nor are the ladies of the mining districts picturesque, although they seem to affect the costume of the dames of old Peru by showing scarcely more than an eye beneath their shawls.

Some three miles to the west of Worsborough is Wentworth Castle (a successor to the older castle, the remains of which stood on the high ground above), called by some Stainborough Hall to distinguish it from Wentworth Woodhouse. The historic house stands high, commanding fine views, but marred by mining chimney-shafts on the adjacent hills. The exterior of the mansion is classic and formal, and exteriorly there is little older than the time of George I.; the interior, however, takes us back another century or more, and the panelled porters' hall and carved black oak staircase were old when powdered wigs were introduced. In Queen Anne's State rooms and in the cosy ante-chambers there are rich tapestries, wonderful old cabinets, and costly china, reminding one of the treasures of Holland House. But the finest room is the picture gallery, one hundred and eighty feet in length and twenty-four feet in breadth, and very lofty. The ceiling represents the sky with large gold stars, and has a curious effect of making it appear much higher than it really is. It belongs to the time of the second Earl of Strafford, who built all this part of the house. The unfortunate first earl looks down from the wall with dark melancholy eyes: a face full of character and determination, and different vastly from the dreamy weakness revealed in the profile of the sovereign who cut his head off. The despotic ruler of Ireland is said to walk the chambers of the castle with his head under his arm, which, strangely enough, seems to be the fashion with decapitated ghosts; and Strafford is a busy ghost, for he has to divide his haunting among two other mansions, Wentworth Woodhouse and Temple Newsam. Here is Oliver, too, who made as great a mistake as Charles did by resorting to the axe. The young Earl of Pembroke looks handsome in his long fair ringlets; and so does the youthful Henrietta, Baroness Wentworth (a pretty childish figure fondling a dog), whose end was every way as tragic as her kinsman's.

Many of the bedrooms are named after birds and flowers, a pretty idea that we have not met elsewhere. The colour blue predominates in those we call to mind, namely, the "Blue-tit room," the "Kingfisher room," the "Peacock room," the "Cornflower room," and the "Forget-me-not room." Just outside the park, near a house that was formerly kept as a menagerie, is a comfortable old-fashioned inn, the "Strafford Arms," the landlord of which was butler to two generations of the Vernon-Wentworths, and in consequence he is quite an authority on genealogical matters; and where his memory does not serve, has Debrett handy at his elbow. Being a Somersetshire man he has brought the hospitality of the western counties with him to the northern heights. He points with pride to the cricket-ground behind the inn, the finest "pitch" in Yorkshire.

Let us avoid the town of Barnsley and turn eastwards towards Darfield, whose interest is centred in its church. The ceilings of the aisles, presumably like the picture gallery at Wentworth Castle, are supposed to represent the heavens, but the colour is inclined to be sea-green, and the clouds and stars are feathery. A fine Perpendicular font is surmounted by an elaborate Jacobean cover; opposite, at the east end of the church, is a fine but rather dilapidated tomb of a fourteenth-century knight and his dame, and the effigy of the latter gives a good idea of the costume of Richard II.'s time. Upon a wooden stand close by there is a chained Bible, and the support looks so light that one would think the whole could be carried off bodily, until one tries its prodigious weight.

Another tomb, of the Willoughbys of Parham, bears upon it some strange devices, including an owl with a crown upon its head. The seventeenth-century oak pews and some earlier ones with carved bench-ends, add considerably to the interest of the interior. The ancient coffer in the vestry, as well as a carved oak chest and chairs, must not pass unnoticed.

Barnborough to the east, and Great Houghton to the north-east, are both famous in their way; the former for a traditional fight between a man and a wild cat, which for ferocity knocked points off the Kilkenny record. The Hall was once the property of Sir Thomas More (another of those beheaded martyrs who are doomed to walk the earth with their heads under their arms), and contains a "priest's hole," which, had it existed in the Chancellor's day, might have tempted him to try and save his life. Great Houghton Hall, the ancient seat of the Roders (a brass to whom may be seen in Darfield church), is now an inn, indeed has been an inn for over half a century. Once having been a stately mansion, it has an air of mystery and romance; and there are rumours that before it lost caste, in the transition stage between private and public life, one of its chambers remained draped in black, in mourning for the Earl of Strafford's beheading on Tower Hill in 1641. It is a huge building of many mullioned windows and pinnacled gables; but within the last two years the upper part of the big bays of the front have been destroyed, and a verandah introduced which spoils this side, and whoever planned this alteration can have had but little reverence for ancient buildings. The rooms on the ground floor are mostly bare; but ascending a wide circular stone staircase, with carved oak arches overhead, there are pleasant surprises in store. You step into the spacious "Picture gallery," devoid of ancestral portraits truly, but with panelled walls and Tudor doorways. The mansion was stripped of its furniture over a century and a half ago, but there are chairs of the Chippendale period to compensate, and a great wardrobe of the Stuart period too big presumably to get outside. Two bedrooms are panelled from floor to ceiling and have fine overmantels, one of which has painted panels depicting "Life" and "Death." But a great portion of the house is dilapidated, and to see its ornamental plaster ceilings one would have to risk disappearing through the floors below, like the demon in the pantomime. Mine host of the "Old Hall Inn" is genuinely sympathetic, and is quite of the opinion that the oak fittings that have been removed would look best in their original position; and this is only natural, for he has lived there all his life, and his mother was born in the house; and he proudly points at the Jacobean pew in the adjacent church where as a child he sat awestruck, holding his grandfather's hand while the good old gentleman took his forty winks. The little church in its cabbage-grown enclosure is quite an untouched gem, with formal array of seventeenth-century pews with knobby ends, a fine carved oak pulpit and sounding-board. Its exterior is non-ecclesiastical in appearance, with rounded stone balustrade ornamentation. While photographing the building an interested party observed that he had lived at Houghton all his life, but had never observed there was a door on that side,--a proof that residents in a place rarely see the most familiar objects. Nevertheless, he discovered the door of the "Old Hall," and entered.

Pontefract Castle, so rich in historical associations, is disappointing, because there is so little of it left. It is difficult in these fragmentary but ponderous walls to imagine the fortress as it appeared in the days of Elizabeth. From an ancient print of that time it looks like a fortified city, with curious pinnacles and turrets upon its many towers. The great round towers of the keep had upon the summit quite a collection, like intermediate pawns and castles from a chessboard. The curtain walls connected seven round towers, and there were a multitude of square towers within. There is something very suggestive of the Duncan-Macbeth stronghold in the narrow stairway between those giant rounded towers. It is like a tomb, and one shudders at the thought of the "narrow damp chambers" in the thickness of the wall of the Red Tower, where tradition says King Richard II. was done to death. By the irony of fate it was the lot of many proud barons during some part of their career to occupy the least desirable apartment of their castles; and thus it was with Edward II.'s cousin, Thomas Plantagenet, Earl of Lancaster, who from his own dungeon was brought forth to be beheaded. In a garden near the highwayman's resort, Ferrybridge, above Pontefract, may be seen a stone coffin which was dug up in a field on the outskirts of the castle, and supposed to be that of the unfortunate earl. At Pontefract, too, Lord Rivers, Sir Thomas Vaughan, Sir Richard Grey, and others were hurried into another world by the Protector Richard; so altogether the castle holds a good record for deeds of darkness, and the creepy feeling one has in that narrow stairway between those massive walls is fully justified by past events. The old castle held out stoutly for the king in the Civil Wars. For many months, in 1645, it stood a desperate siege by Fairfax and General Poyntz before the garrison capitulated. Three years later it was captured again for the Royalists by Colonel Morrice, and held with great gallantry against General Lambert even after the execution of Charles I. In the March following, the stronghold surrendered, saving Morrice and five others who had not shown mercy to Colonel Rainsborough when he fell into their hands. These six had the option of escaping if they could within a week. "The garrison," says Lord Clarendon, "made several sallies to effect the desired escape, in one of which Morrice and another escaped; in another, two more got away; and when the six days were expired and the other two remained in the castle, their friends concealed them so effectually, with a stock of provisions for a month, that rendering the castle and assuring Lambert that the six were all gone, and he was unable to find them after the most diligent search, and had dismantled the castle, they at length got off also." There are still some small chambers hewn out of the solid rock on which the castle is built, reached by a subterranean passage on the north side; and perhaps here was the successful lurking-place. Colonel Morrice and his companion, Cornet Blackburn, were afterwards captured in disguise at Lancaster.

In the pleasure gardens of to-day, with various inscription boards specifying the position of the Clifford Tower, Gascoyne's Tower, the King's Tower, and so forth, we get but a hazy idea of this once practically impregnable fortress, covering an area of seven acres. Concerning Richard II.'s death, it is doubtful whether the truth will ever be arrived at. The story that he escaped, and died nineteen years afterwards in Scotland, is less likely than the supposition that he died from the horrors of starvation; on the other hand, the story of the attack by Sir Piers Exton's assassins is almost strengthened by the evidence of a seventeenth-century tourist, who, prior to its destruction in the Civil War, records: "The highest of the seven towers is the Round Tower, in which that unfortunate prince was enforced to flee round a poste till his barbarous butchers inhumanly deprived him of life. _Upon that poste the cruell hackings and fierce blowes doe still remaine._" Mr. Andrew Lang perhaps can solve this historic mystery; or perhaps he has already done so? New Hall, close at hand, must have been a grand old house; but it is now roofless, and crumbling to decay. It is a picturesque late-Tudor mansion, with a profusion of mullioned windows and a central bay. The little glass that remains only adds to its forlorn appearance.

Ferrybridge and Brotherton both have an old-world look. The latter place is famous for the battle fought there between Yorkists and Lancastrians; and as the birthplace of Thomas de Brotherton, the fifth son of King Edward I. The old inns of Ferrybridge recall the prosperous coaching days; but the revival of business on the road which has been brought about by cycle and motor, will have but little effect on this village with a past. The hostelry by the fine stone bridge that gives the place its name, has a past connected with notorious gentlemen of the road, and an entry in an old account-book runs as follows: "A traveller in a gold-laced coat ordered and drank two bottles of wine--doubtless mischief to-night, for the traveller, methinks, is that villain Dick Turpyn." How vividly this recalls that excellent picture by Seymour Lucas, R.A., where a landlord of the Joe Willet type is eyeing, between the whiffs from his long churchwarden, a suspicious guest, who having tasted mine host's vintage has dropped asleep, regardless of the fact that his brace of flintlocks are conspicuously visible.

Between here and Leeds are two fine mansions, Ledston Hall and Kippax Park. The former is a very uncommon type of Elizabethan architecture, almost un-English in character. It is a stone-built house of the time of James I., with Dutch-like gables and narrow square towers. In the reign of Charles I. it belonged to Thomas, Earl of Strafford; but his son, the second earl, sold the estate. Kippax in its way is original in construction, but savours somewhat of Strawberry Hill Gothic. The ancient family of Bland have been seated here since the time of Elizabeth, the direct male line, however, dying out in the middle of the eighteenth century. Sir Thomas Bland was one of the gallant Royalists who defended Pontefract Castle during the Civil War.

A few miles to the north-west is the grand old mansion, Temple Newsam. Like Hatfield House, which in many respects it resembles, it is built of red-brick with stone coigns, and the time-toned warm colour is acceptable in this county of grey stone. It was built like many so-called Elizabethan houses in the reign of James I., and, like Castle Ashby, has around the three sides of the quadrangle a parapet of letters in open stone work which runs as follows: "All glory and praise be given to God the Father, the Son, and Holy Ghost on high, peace on earth, goodwill towards men, honour and true allegiance to our gracious king, loving affections amongst his subjects, health and plenty within this house." The loyal sentiments are not those of Mary Queen of Scots' husband, Lord Darnley, who was born in the earlier house, but of the builder, Sir Anthony Ingram, who bought the estate from the Duke of Lennox. Of all the spacious rooms, the picture gallery is the finest. It is over a hundred feet in length and contains a fine collection of old masters and some remarkable china. Albert Durer's hard and microscopic art is well represented, as well as the opposite extreme in Rembrandt's breadth of style. But the gem of all is a head by Reynolds (of, we think, a Lady Gordon), a picture that connoisseurs would rave about. A small picture of Thomas Ingram is almost identical with that of the Earl of Pembroke we have mentioned at Wentworth Castle. In one of the bedrooms (famous for their tapestry hangings and ancient beds) are full-length portraits of Mary Queen of Scots, Queen Elizabeth, and James I., the first like the well-known portraits at Hardwick and Welbeck. On one of the staircases is an interesting picture of Henrietta, Duchess of Orleans, in a turban, with the favourite spaniel who appears in many of her portraits. She holds in her hand the picture of her lord and master, the duke who was so jealous of her. A new grand staircase with elaborately carved newels, after the style of that at Hatfield, has been added to the mansion recently, and harmonises admirably with its more ancient surroundings.