[668] {495}[Byron's description of the place of his inheritance, which was to know him no more, is sketched from memory, but it unites the charm of a picture with the accuracy of a ground-plan. Eight years had gone by since he had looked his last on "venerable arch" and "lucid lake" (see "Epistle to Augusta," stanza viii. lines 7, 8), but he had not forgotten, he could not forget, that enchanted and enchanting scene.
Newstead Abbey or Priory was founded by Henry II., by way of deodand or expiation for the murder of Thomas Becket. Lands which bordered the valley of the Leen, and which had formed part of Sherwood Forest, were assigned for the use and endowment of a chapter of "black canons regular of the order of St. Augustine," and on a site, by the river-side to the south of the forest uplands (stanza lv. lines 5-8) the new stede, or place, or station, arose. It was a "Norman Abbey" (stanza lv. line 1) which the Black Canons dedicated to Our Lady, and, here and there, in the cloisters, traces of Norman architecture remain, but the enlargement and completion of the monastery was carried out in successive stages and "transition periods," in a style or styles which, perhaps, more by hap than by cunning, Byron rightly named "mixed Gothic" (stanza lv. line 4). To work their mills, and perhaps to drain the marshy valley, the monks dammed the Leen and excavated a chain of lakes—the largest to the north-west, Byron's "lucid lake;" a second to the south of the Abbey; and a third, now surrounded with woods, and overlooked by the "wicked lord's" "ragged rock" below the Abbey, half a mile to the south-east. The "cascade," which flows over and through a stone-work sluice, and forms a rocky water-fall, issues from the upper lake, and is in full view of the west front of the Abbey. Almost at right angles to these lakes are three ponds: the Forest Pond to the north of the stone wall, which divides the garden from the forest; the square "Eagle" Pond in the Monks' Garden; and the narrow stew-pond, bordered on either side with overhanging yews, which drains into the second or Garden Lake. Byron does not enlarge on this double chain of lakes and ponds, and, perhaps for the sake of pictorial unity, converts the second (if a second then existed) and third lakes into a river.
The Abbey, which, at the dissolution of monasteries in 1539, was handed over by Henry VIII. to Sir John Byron, "steward and warden of the forest of Shirewood," was converted, here and there, more or less, into a baronial "mansion" (stanza lxvi.). It is, roughly speaking, a square block of buildings, flanking the sides of a grassy quadrangle. Surrounding the quadrangle are two-storied cloisters, and in the centre a "Gothic fountain" (stanza lxv. line 1) of composite workmanship. The upper portion of the stonework is hexagonal, and is ornamented with a double row of gargoyles (all "monsters" and no "saints," recalling, perhaps identical with, the "seven deadly sins" gargoyles, still in situ in the quadrangle of Magdalen College, Oxford); the lower half, which belongs to the seventeenth or eighteenth century, is hollowed into niches of a Roman or classical design. (In Byron's time the fountain stood in a courtyard in front of the Abbey, but before he composed this canto it had been restored by Colonel Wildman to its original place within the quadrangle. Byron was acquainted with the change, and writes accordingly.) When the Byrons took possession of the Abbey the upper stories of the cloisters were converted, on three sides of the quadrangle, into galleries, and on the fourth, the north side, into a library. Abutting on the cloisters are the monastic buildings proper, in part transformed, but with "much of the monastic" preserved. On the west, the front of the Abbey, the ground floor consists of the entrance hall and Monks' Parlour, and, above, the Guests' Refectory or Banqueting-hall, and the Prior's Parlour. On the south, the Xenodochium or Guesten Hall, and, above, the Monks' Refectory, or Grand Drawing-room; on the south and east, on the ground floor, the Prior's Lodgings, the Chapter House ("the exquisite small chapel," stanza lxvi. line 5), the "slype" or passage between church and Chapter House; and in the upper story, the state bedrooms, named after the kings, Edward III., Henry VII., etc., who, by the terms of the grant of land to the Prior and Canons, were entitled to free quarters in the Abbey. During Byron's brief tenure of Newstead, and for long years before, these "huge halls, long galleries, and spacious chambers" (stanza lxxvii. line 1) were half dismantled, and in a more or less ruinous condition. A few pictures remained on the walls of the Great Drawing-room, of the Prior's Parlour, and in the apartments of the south-east wing or annexe, which dates from the seventeenth century (see the account of a visit to Newstead in 1812, in Beauties of England and Wales, 1813, xii. 401-405). There are and were portraits, by Lely (stanza lxviii. line 7), of a Lady Byron, of Fanny Jennings, Duchess of Tyrconnel, "loveliness personified," of Mrs. Hughes, and of Nell Gwynne; by Sir Godfrey Kneller, of William and Mary; by unnamed artists, of George I. and George II.; and by Ramsay, of George III. There are portraits of a fat Prior, William Sandall, with a jewelled reliquary; of "Sir John the Little with the Great Beard," who ruled in the Prior's stead; and there is the portrait, a votive tablet of penitence and remorse, "of that Lord Arundel Who struck in heat the child he loved so well" (see "A Picture at Newstead," by Matthew Arnold, Poetical Works, 1890, p. 177); but of portraits of judges or bishops, or of pictures by old masters, there is neither trace nor record.
But the characteristic feature of Newstead Abbey, so familiar that description seems unnecessary, and, yet, never quite accurately described, is the west front of the Priory Church, which is in line with the west front of the Abbey. "Half apart," the southern portion of this front, which abuts on the windows of the Prior's Parlour, and the room above, where Byron slept, flanks and conceals the west end of the north cloisters and library; but, with this exception, it is a screen, and nothing more. In the centre is the "mighty window" (stanza lxii. line 1), shorn of glass and tracery; above are six lancet windows (which Byron seems to have regarded as niches), and, above again, in a "higher niche" (stanza lxi. line 1), is the crowned Virgin with the Babe in her arms, which escaped, as by a miracle, the "fiery darts"—the shot and cannon-balls of the Cromwellian troopers. On either side of the central window are "two blank windows containing tracery ['geometrical decorated'] ... carved [in relief] on the solid ashlar;" on either side of the window, and at the northern and southern extremities of the front, are buttresses with canopied niches, in each of which a saint or apostle must once have stood. Over the west door there is the mutilated figure of (?) the Saviour, but of twelve saints or twelve niches there is no trace. The "grand arch" is an ivy-clad screen, and nothing more. Behind and beyond, in place of vanished nave, of aisle and transept, is the smooth green turf; and at the east end, on the site of the high altar, stands the urn-crowned masonry of Boatswain's tomb.
Newstead Abbey was sold by Lord Byron to his old schoolfellow, Colonel Thomas Wildman, in November, 1817. The house and property were resold in 1861, by his widow, to William Frederick Webb, Esq., a traveller in many lands, the friend and host of David Livingstone. At his death the estate was inherited by his daughter, Miss Geraldine Webb, who was married to General Sir Herbert Charles Chermside, G.C.M.G., etc., Governor of Queensland, in 1899.
For Newstead Abbey, see Beauties of England and Wales, 1813, xii. Part I. 401-405 (often reprinted without acknowledgment); Abbotsford and Newstead Abbey, by Washington Irving, 1835; Journal of the Archaeological Association (papers by T.J. Pettigrew, F.R.S., and Arthur Ashpitel, F.S.A.), 1854, vol. ix. pp. 14-39; and A Souvenir of Newstead Abbey (illustrated by a series of admirable photographs), by Richard Allen, Nottingham, 1874, etc., etc.]
[669] {497}[The woodlands were sacrificed to the needs or fancies of Byron's great-uncle, the "wicked Lord." One splendid oak, known as the "Pilgrim's Oak," which stood and stands near the north lodge of the park, near the "Hut," was bought in by the neighbouring gentry, and made over to the estate. Perhaps by the Druid oak Byron meant to celebrate this "last of the clan," which, in his day, before the woods were replanted, must have stood out in solitary grandeur.]
[670] {498}[Compare "Epistle to Augusta," stanza x. line 1, Poetical Works, 1901, iv. 68.]
[671] [The little wood which Byron planted at the south-east corner of the upper or "Stable" Lake, known as "Poet's Corner," still slopes to the water's brink. Nor have the wild-fowl diminished. The lower of the three lakes is specially reserved as a breeding-place.]
[ME] Its shriller echo——.—[MS.]