Warwickshire: The Land of Shakespeare

by Clive Holland

It was in this Hall that the builder, Sir William Compton, received Henry VIII., with whom he had been at the Field of the Cloth of Gold, and doubtless it has been the scene of many almost equally notable festivities during the centuries which have passed since its erection. The Chapel, which is on the south side of the quadrangle, is divided into two portions by an oak screen with a gate in the centre. Over the screen are carved panels, and on the left of the gate on the outer side is one probably representing the scourging of Christ previous to the Crucifixion; whilst that on the left represents a female figure on a pedestal intended apparently for the Virgin Mary, the stag having reference to the legend of St. Hubert. Within the screen on the left are representations of the seven deadly sins, each mounted on a horse with a small demon behind, urging on the rider. At the head of the procession is a monk, and the figure of the devil is seen standing ready to receive them. On the right–hand side there is a carving of figures (probably Twelfth Night mummers) in State robes, having swords in their left hands. The centre panels on both sides of the screen are blank. The general impression is that these carvings, which are certainly of greater age than the house, were brought from Fulbroke Castle, built by John, Duke of Bedford, in the reign of Henry V., the custody of which was given to Sir William Compton by Henry VIII.

The great window on the south–western side of the chapel contains five lights, with cinquefoil heads divided by a transom, and with the spandrils and sill carved. In it was formerly some beautiful painted glass representing the Passion, in which also were depicted the figures of the builder of the house and his wife and three children, and the family arms. The glass was removed to Balliol College, Oxford, during the period of the Civil War. It is difficult to exactly locate the former position of the high altar in reference to the great window, it being possible, as was sometimes the case, that the celebrant took up his position behind it, and thus faced north–east, having his back, of course, towards the window itself.

Amongst the other more notable portions of this fine manor–house, which in its entirety contains eighty rooms with seventeen separate flights of stairs and 275 windows, which in the days of the window tax were reduced to the number of thirty, is the private dining–room built in the reign of Elizabeth by William Compton, first Earl of Northampton, ornamented with the arms of Compton and Spencer. The carving of the chimney–piece moulding of hard fir–wood is supposed to be the work of Thomas Chippendale, the well–known wood–carver of George II.’s time.

The Music– or Smoking–room is probably a comparatively modern addition to the house, about the year 1738; here too the chimney moulding appears to be the work of Chippendale.

On the second floor, approached by the great staircase, which although occupying its original position is a modern reproduction dating only from 1867, King Charles’ room is reached, situated on the north side overlooking the moat. In this room Charles is said to have slept when a guest here. The moat and the upper part of the house could in those days be reached by a spiral staircase just outside the room.

The Drawing–room on the south side of the house is a beautiful room, oak panelled, and with a handsome plaster ceiling placed there in the time of Elizabeth and recently carefully restored. The carving and panelling over the mantelpiece were brought from Canonbury House, which was the manor–house of Islington, purchased by Sir John Spencer, the father of the first Earl, in 1570. The chapel drawing–room, in which are oak carvings and a moulded ceiling, has on the south side hinged panels, and a door which leads into the upper portion of the chapel, and through which people in the room could hear the service.

Next to this room is the bed–chamber occupied by Henry VIII. when visiting the house, and containing a window in which is some old painted glass. In one of the lights is a Tudor rose intact, and in others there are portions of the arms of Catherine of Aragon. The ceiling, which is interesting and curious, was probably made in the reign of Charles I., and contains the arms of the various royal guests who had honoured the house with their presence, including Henry VIII., Queen Elizabeth, James I., and Charles I.

The Council Chamber in the great tower is reached by a circular staircase, and is notable for its beautiful split oak panelling, exhibiting the grain of the wood in a manner impossible where sawn timber is used. In a small chamber adjoining is a well–hole, probably once forming the entrance to a secret passage communicating with a trap–door in the north wing.

There were in ancient times a large number of secret hiding–places at Compton Wynyates. Next but one to the room of Henry VIII. is a chamber from which there was communication with a secret hiding–place of quite considerable dimensions, reached from it by a stairway of eleven steps only 19 inches wide. In this stairway is an “observation hole,” some 10 inches high and about 2–1/2 inches wide, formerly concealed by the panelling, by means of which the approach of the enemy or of a search party could be watched by the fugitive in hiding. The secret chamber is about seven feet square, and has two windows and a small fireplace. One of the distinguishing features of the house is the number of its windows and chimneys; a circumstance that made it extremely difficult for searchers to locate any secret hiding–place, even though furnished with both. Few manor–houses have, or at least had, more numerous places of concealment great and small than Compton Wynyates. In the south–western turret is another hiding–place, stated to have been discovered by Lady Frances Compton about 1770, whilst she was playing there as a child. The story goes that she fell against the plaster–work which concealed the door, and the hollow sound emitted caused investigation to be made. Upon opening the chamber it was found (so tradition states) to contain the skeletons of a woman (a nurse?) and two children, concealed, it is supposed, at some period of trouble and forgotten.

The famous priests’ room or chapel in the roof is reached from the Council Chamber by three newel staircases, and it is even possible there was a fourth in ancient times. This room was undoubtedly used as a chapel, as there were many Popish recusants dwelling in the immediate neighbourhood; a safer and less unostentatious place of worship was scarcely possible. On an elm shelf below the south–west window are, rudely carved, five consecration crosses, showing that it had been used for the purpose of an altar, and was consecrated according to the rites of the Romish Church. The slab of wood is unique, in that it forms the only known instance of a wooden altar in England.