WARWICK CASTLE.
Were it not for the “out-heroded” descriptions in the guide-books, one might say a great deal of Warwick castle. It is the quality of overdone or ill-expressed enthusiasm to silence that which is more rational and real. Warwick is, perhaps, the best kept of all the famous old castles of England. It is a superb and admirably-appointed modern dwelling, in the shell, and with all the means and appliances preserved of an ancient stronghold. It is a curious union, too. My lady’s maid and my lord’s valet coquet upon the bartizan, where old Guy of Warwick stalked in his coat-of-mail. The London cockney, from his two days’ watering at Leamington, stops his pony-chaise, hired at half-a-crown the hour, and walks Mrs. Popkins over the old drawbridge as peacefully as if it were the threshold of his shop in the Strand. Scot and Frenchman saunter through fosse and tower, and no ghost of the middle ages stalks forth, with closed visor, to challenge these once natural foes. The powdered butler yawns through an embrasure, expecting “miladi,” the countess of this fair domain, who in one day’s posting from London seeks relief in Warwick castle from the routs and soirées of town. What would old Guy say, or the “noble imp” whose effigy is among the escutcheoned tombs of his fathers, if they could rise through their marble slabs, and be whirled over the drawbridge in a post-chaise? How indignantly they would listen to the reckoning within their own port-cullis, of the rates for chaise and postillion. How astonished they would be at the butler’s bow and the proffered officiousness of the valet. “Shall I draw off your lordship’s boots? Which of these new vests from Staub will your lordship put on for dinner?”
Among the pictures at Warwick, I was interested by a portrait of Queen Elizabeth, (the best of that sovereign I ever saw;) one of Machiavelli, one of Essex, and one of Sir Philip Sidney. The delightful and gifted woman whom I had accompanied to the castle observed of the latter, that the hand alone expressed all his character. I had often made the remark in real life, but I had never seen an instance on painting where the likeness was so true. No one could doubt, who knew Sir Philip Sidney’s character, that it was a literal portrait of his hand. In our day, if you have an artist for a friend, he makes use of you while you call, to “sit for the hand” of the portrait on his easel. Having a preference for the society of artists myself, and frequenting their studios habitually, I know of some hundred and fifty unsuspecting gentlemen on canvass, who have procured for posterity and their children portraits of their own heads and dress-coats to be sure, but of the hands of other persons!
The head of Machiavelli is, as is seen in the marble in the gallery of Florence, small, slender, and visibly “made to creep into crevices.” The face is impassive and calm, and the lips, though slight and almost feminine, have an indefinable firmness and character. Essex is the bold, plain, and blunt soldier history makes him, and Elizabeth not unqueenly, nor (to my thinking) of an uninteresting countenance; but, with all the artist’s flattery, ugly enough to be the abode of the murderous envy that brought Mary to the block.
We paid our five shillings for having been walked through the marble hall of Castle Warwick, and the dressing room of its modern lady, and, gratified much more by our visit than I have expressed in this brief description, posted on to Kenilworth.