Chapter II: Part 2

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 husbands--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 £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,

“Hardwick Hall,
More glass than wall,”

which was applied to the first-named building for obvious reasons. In those Elizabethan days there was a growing desire to dissipate gloom and 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, “It is too much for a King, though it might do very well for a Lord Treasurer”; an observation matched by Queen Victoria, who on visiting Stafford House, now the London Museum, said to the Duchess of Sutherland, “I have come from my house to your palace.” 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 mother’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 £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 the King, 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 King’s health he played a flageolet solo in the enormous cellars, the echo pleasing him greatly. Evelyn described the mansion as “Indeede a cheerfull piece of Gotic building, or rather antico moderno,” 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 “modernised” 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 Pilgrim’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 place--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 Richardson’s almost photographic drawing represents the exterior as it stands at the present day. A notable building is the Oak House, West Bromwich (Plate VIII). 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 £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 “Hall i’ the Wood” (Plate V), a description which has lost its point as much as the original “Bolton-le-Moors.” Cotton-spinning accounted largely for the transformation, and it is appropriate enough that the Hall i’ 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 “mule” 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 Crompton’s aid, poverty would have claimed another genius. As a Museum the Hall i’ 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 “poor house of Aston” 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, the mansion, together with its surrounding acres, being purchased for general use.

Although Hampton Court (Nash’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 “pleasure, leisure, and treasure,” 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 Wren’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, Scott’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, “in its perfect state, it must have been a complete museum of English architecture from Norman times to Leicester’s additions in the reign of Elizabeth.”

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, “Crewe is burning, come and build it up again,” 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. “Surely,” was the reply, “a man may be allowed to take a glass of wine before his own fireside.” 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

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: “A 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.” 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 “The Loseley Manuscripts,” 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 Müller’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 “Ayntient and Rightworthy Famylie of Hodlestone,” 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, “Let the house burn; I will build Huddleston a better.” 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 from _mons 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,

“Through this wide-opening gate,
None come too early, none return too late.”

The place was sacked by Cromwell, who stayed there for a time. When Richardson visited the house it was in poor condition, “stripped in a great degree of its internal decorations and left to the mercy of time”; 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 Richardson’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 been the scene of Shakespeare’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. Richardson’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 Holbein’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 in Queen Elizabeth’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.

PLATE I. HADDON HALL. DERBYSHIRE]

PLATE II. BENTHALL HALL, SHROPSHIRE]

PLATE III. INCH HALL, LANCASHIRE]

PLATE IV. SAWSTON HALL, CAMBRIDGESHIRE]

PLATE V. THE HALL I’ THE WOOD, LANCASHIRE]

PLATE VI. SMITHELLS HALL, LANCASHIRE]

PLATE VII. TURTON TOWER. LANCASHIRE]

PLATE VIII. THE OAK HOUSE, WEST BROMWICH, STAFFORDSHIRE]

PLATE IX. ASTON HALL, WARWICKSHIRE]

PLATE X. FEERING HOUSE, ESSEX]

PLATE XI. HOREHAM HALL, ESSEX]

PLATE XII. SALWARP COURT. NEAR DROITWICH. WORCESTERSHIRE]

PLATE XIII. FORD HOUSE, DEVONSHIRE]

PLATE XIV. KIRBY HALL, NORTHAMPTONSHIRE]

PLATE XV. CHARLTON HOUSE, KENT]

PLATE XVI. PITCHFORD HALL, SHROPSHIRE]

PLATE XVII. LOSELEY HOUSE, SURREY]

PLATE XVIII. CHARLECOTE, WARWICKSHIRE--THE GREAT HALL]

PLATE XIX. COOMBE ABBEY, WARWICKSHIRE--THE ELIZABETHAN ROOM]

PLATE XX. WROXHALL ABBEY, WARWICKSHIRE]

PLATE XXI. WEST STOW HALL. SUFFOLK]

PLATE XXII. THE MANOR HOUSE. EAST BARSHAM, NORFOLK]

PLATE XXIII. MORETON HALL, CHESHIRE]

PLATE XXIV. THROWLEY HALL, STAFFORDSHIRE]

PLATE XXV. HARDWICK HALL, DERBYSHIRE]

PLATE XXVI. PARK HALL, SHROPSHIRE]

PLATE XXVII. PARK HALL, SHROPSHIRE--THE DRAWING-ROOM]

PLATE XXVIII. OAK STAIRCASE AT PARK HALL, SHROPSHIRE]

PLATE XXIX. DORFOLD HALL, CHESHIRE]

PLATE XXX. DORFOLD HALL. CHESHIRE--THE GREAT CHAMBER]

PLATE XXXI. MONTACUTE, SOMERSETSHIRE--THE GREAT CHAMBER]

PLATE XXXII. CHARLTON HOUSE, WILTSHIRE]

PLATE XXXIII. INTERIOR OF AN OLD HOUSE AT ENFIELD MIDDLESEX (KNOWN AS “QUEEN ELIZABETH’S PALACE”)]

PLATE XXXIV. STOCKTON HOUSE. WILTSHIRE--SMALL BED-CHAMBER]

PLATE XXXV. SIDE OF DRAWING-ROOM AT STOCKTON HOUSE. WILTSHIRE]

PLATE XXXVI. THE OLD MANOR HOUSE HOLLINGBOURNE. KENT]

PLATE XXXVII. AT SOUTH PETHERTON, SOMERSETSHIRE]

PLATE XXXVIII. THE OLD MANOR HOUSE, HARLAXTON, LINCOLNSHIRE]

PLATE XXXIX. EAST SUTTON PLACE, KENT--THE ENTRANCE HALL]

PLATE XL. OLD HOUSE AT IPSWICH, SUFFOLK]

PLATE XLI. BARRINGTON COURT, SOMERSETSHIRE]

PLATE XLII. AUDLEY END, ESSEX--THE STAIRCASE]

PLATE XLIII. PORTION OF PLASTER CEILING AT AUDLEY END. ESSEX]

PLATE XLIV. THE OLD TOWN HALL. NANTWICH, CHESHIRE]

PLATE XLV. THE WHITE HART INN, SCOLE. NORFOLK]

PLATE XLVI. BURTON AGNES. YORKSHIRE--ENTRANCE TO STAIRCASE FROM THE HALL]

PLATE XLVII. GAWSWORTH HALL, CHESHIRE]

PLATE XLVIII. UPPER PORTION OF AN OLD HOUSE AT MAIDSTONE, KENT]

PLATE XLIX. LONGFORD CASTLE, WILTSHIR--THE CIRCULAR DINING-ROOM]

PLATE L. STAIRCASE AT ST. JOHN’S COLLEGE, CAMBRIDGE]

PLATE LI. ASTON HALL, WARWICKSHIRE--THE ENTRANCE HALL]

PLATE LII. OAK BEDSTEAD AT CUMNOR PLACE, BERKSHIRE]

PLATE LIII. KENILWORTH CASTLE, WARWICKSHIRE--ENTRANCE PORCH TO THE GATEHOUSE]

PLATE LIV. CREWE HALL, CHESHIRE]

PLATE LV. CREWE HALL, CHESHIRE]

PLATE LVI. FIREPLACE AT CREWE HALL. CHESHIRE]

PLATE LVII. LITTLE CHARLETON. KENT]

PLATE LVIII. GARDEN BRIDGE AT KIRBY, NORTHAMPTONSHIRE]

PLATE LIX. PORCH OF THE NAG’S HEAD INN. LEICESTER]

PLATE LX. HELMSLEY HALL. YORKSHIRE]

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