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
HENRY SHAW
HENRY SHAW
CHIMNEY-PIECE IN DINING ROOM AT BUCKLING HALL, NORFOLK