Hart’s Weir, or Eaton Weir, as the Conservancy elects rather to style it, is but a mile-and-a-quarter below Buscot, and is one of the few old-fashioned weirs, fitted with paddles and rymers, of which a few are removed for the passage of a boat, that now remain. Beside it stands the “Anchor” inn, with not another house in sight, and the little church of Eaton Hastings—it would be an affectation to speak of the village, unless a few scattered cottages may so be named—two miles away, by the riverside, but so hidden that its existence is not suspected by passing oarsmen.
It is amusing to observe the blank puzzlement that overspreads the faces, and governs the actions, of those occupants of boats from Lechlade who, coming for the first time to this unfamiliar type of weir and lock combined, helplessly steer from one side of the river to the other, in search of the familiar lock-cut and lock-gates, and, failing to find them (as well they may, for such things do not exist here), at last landing and enquiring for them at the inn. Eaton Weir is one of the last now left of the old weirs that served the turn of the river in days of old, and they are therefore now so uncommon that none need feel ashamed of coming unexpectedly for the first time to one, and not comprehending the situation. But those who are taken by surprise here and cannot understand why they can find no way through, do, it is evident by leisured observation, feel a kind of shame at being so completely “sold.” Eaton Weir, and others of its kind, are, in fact, complete barriers across the river, affording a check to all craft until four or five of the paddles are pulled up. The construction is simple, consisting of a sill, generally a heavy beam of wood, laid across the bed of the river, with a similar beam crossing immediately over it, from bank to bank. These form the framework of the weir, which is completed by a number of stout supports going perpendicularly down at intervals from upper beam to lower, and by a continuous row of “paddles” set between them. The “paddles” are, roughly speaking, in the shape of shovels, but much longer in the handle and bigger in the blade. It is obvious that when all the paddles are down in their places the head of water must be considerably raised above the weir, although a volume of water pours through all the while. To admit the passage of a boat, the weir-keeper draws up four paddles or more, and then, if the craft be going down-stream, it is guided by the steersman carefully to the weir, and deftly allowed to be shot through by the force of the waterfall thus created in the opening. A little mild excitement generally accompanies this “shooting the rapids,” even though the fall be only about eighteen inches to two feet when the paddles are first drawn, and reduced to almost nothing if you wait a few minutes while the head of accumulated water runs itself away. The Thames Conservancy will have its dues, and whether it be a lock or a weir you pass, you render threepence for a small boat, and receive a pink ticket in return.
And so one comes to Kelmscott, which owes its name to some Saxon thane, just as Buscot derives from some dim ancient Burward. But of that Kenelm whose “cot” this was, history says no more than it does of Burward. If we adventure into the hinterland at the back of Bampton—whose full name is Bampton-in-the-Bush—we shall find two other “cots,” or “cotts,” Alvescott, and Kencot—and there is Cote (which is merely “cot” spelled in another way, and unappropriated to any personal name) further down-stream behind Shifford.
At Kelmscott the river Leach comes really to its “lade,” or outflow; its “let,” or outlet: a similar word being used at Oaklade (“uisk-lade,” or water outlet), where the Swillbrook joins the Thames, and at Cricklade, where the Churn falls in. In the words of the presiding genius of the place, the late William Morris, Socialist, poet, decorative-artist, demagogue, literary man, and master-printer, this is “a reach of the river where on the side of the towing-path is a highish bank with a thick whispering bed of reeds before it, and on the other side a higher bank, clothed with willows that dip into the stream, and crowned by ancient elm-trees.” Very true. It is also a beautiful and sequestered spot; and although now, since the death of William Morris in 1896, become a much-talked-of new literary shrine, few are those who trouble its ancient peace.
The village lies near the banks of the Thames, with a rough, unkempt piece of common opposite the old Elizabethan, stone, gabled manor-house that was for some years the home of Morris and of Dante Gabriel Rossetti. Nothing but the upper windows of the old house can be glimpsed from the road, for a very high wall effectually guards its seclusion.
KELMSCOTT MANOR.