The Portsmouth Road and Its Tributaries: To-Day and in Days of Old

by Charles G. Harper

XXIX

BURITON

A short mile off the road, two miles below Petersfield, is the charmingly-situated village of Buriton. It is reached by a winding lane turning off the high-road, beside a finger-post and two ugly modern cottages. Hop-fields and maltings border the lane, which suddenly, at one of its turns, discloses the village, tucked away in the sheltered lower slopes of the rolling South Downs, clothed in places with short grass, and in others bald and showing the white chalk; while just above the village are woodlands of tall elm and branching oak, vociferous with rooks. These “hangers,” as hillside woods are locally termed, are a special feature of this part of Hampshire, and are not to be found in anything like this profusion in any other part of the county. They form the loveliest setting imaginable to an old-world village of this character, and it is difficult to say at what season of the year such a place as Buriton, backed with its woods, is most beautiful. Spring finds the forest trees bare and black, with waving branches scraping, like wizard fingers, gnarled and crooked, the leaden skies of moist February and windy March; and with April comes the stirring of the sap that sets off every little twig with the fairy-like pale green buds of future leaves, until a distant view of the hanger seems clothed in a tender emerald mist. Spring passes and leaves the hillside trees clothed with a thick coat of summer foliage that forms the best of backgrounds to the red roofs of the village; and when leafy summer mellows into russet autumn the hanger is one mass of brilliant colour; gorgeous reds and yellows and tints of dull gold. When November fades away in mists and midnight frosts into Christmastide and the bleak days of January, when days draw out and “the cold begins to strengthen,” as the country folk say, then the hanger is etched black and solemn against the snow-powdered downs, and you can discern every high-perched homestead of the rooks, swinging in the topmost branches of the tallest trees, and looking twice their actual size by this adventitious juxtaposition of black and white.

And, indeed, Buriton is as cheerful in winter’s frosts as in summer’s heat. The village itself is commendably old-fashioned and typically English of the eighteenth century. True, a post and telegraph office stands in the village street, but that is the only anachronism: for the rest, it is a picture by Caldecott come to life. Caldecott saw in his mind’s eye a characteristically English village of the time of the Georges, and he crystallized his vision in many tinted drawings. Here, then, is such a village in very truth, with its ancient church fronting an open space in the village street, where a broad horse-pond, fed by a trickling rill, reflects the ivied church tower in summer, and in winter-time bears the shouting, red-faced urchins who come sliding upon its surface as merrily as English boys have done from time immemorial. Fronting the other side of the pond is the old farm-house of Mapledurham, stuccoed, ’tis true, and plebeian enough to a casual observer, but bearing traces of antiquity in its gables, whence Tudor windows peep from out the handiwork of the modern plasterer, and thereby indict him for an artless fellow, with never a soul above contracts and cheap utility.

AN IDEAL MANOR HOUSE

Behind the church, in midst of rick-yards and their pleasing litter of fragrant straw, stands Buriton Manor House, a solid, staid, and comfortable four-square building of mellowed red brick, frankly unornamental, and therefore pleasing. Built in the days of Queen Anne, you can yet scarce imagine (being a Londoner, and used to the grime of the eighteenth-century houses of the capital), as you stand in front of it, these cleanly walls to be so old. Yet there are brilliant lichens upon the bricks that are not the growth of yesterday, and the cumbrous sashes of the tall plain windows are not of the fashion of to-day. Some windows, too, are blank and bricked up; reminiscences, these, of the days of the window-tax, days when the light of heaven was appraised by the Inland Revenue authorities, and to be bought at a price in coin of the realm. So here, in very truth, is the Manor House of Caldecott’s fancy, and of Washington Irving’s picture-like prose.

GIBBON ACCORDING TO BOSWELL

And here lived, for a time, Edward Gibbon, the historian, whose birthplace we passed at Putney; and it is for this personal interest, for this hero-worshipping object, that I have turned aside from the high-road to visit Buriton. Gibbon, you will say, is a quaint figure for the hero-worshipper to admire outside his stately pages of Roman History, and I have no mind to deny your contention. He was, indeed, a humorous figure of a man, the more so, doubtless, because he was so supremely unconscious of the whimsical figure he cut before his contemporaries. The difference between the majestic swing and rounded periods of his literary style, and his personal appearance and his private habits of thought, is scarce less than ludicrous. Gibbon was, in fine, exceedingly human, and his person was almost grotesque. Do you, I wonder, conceive in that luminous optic, the “mind’s eye,” when thinking of the man who wrote the stately prose of the “Decline and Fall,” the figure of a little snub-nosed gentleman, with a square head, a prodigious development of chins, and a wagging paunch? Surely never. Yet this was the appearance of the man, and portraits and caricatures of him all agree in showing this great literary figure of last century’s close as a very whimsical-looking human figure indeed.