“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.