Lord Monson started with the intention of making Gatton House one of the most superb in the kingdom. He began with the hall, which he built on the lines of the Corsini chapel in the church of San Giovanni in Laterano at Rome, though he did not add the dome. The floor he had laid of coloured marbles, patterned in the most delicate designs; the marble had been designed for Ferdinand VII of Spain, and cost £10,000. The walls and arches are as richly decorated as the floor. There are four frescoes by Joseph Severn; Eleanor of Castile represents Fortitude; Esther, Prudence; Ruth, Meekness; Patience could only be Penelope. The effect of the shining stone and painted arches is of extraordinary brilliance and completeness—the completeness of an unrivalled collection. But there is somewhere something bizarre; perhaps it is the setting. Marble demands marble neighbours, and the setting of these exotic treasures is the simple beauty of English parkland. The little church fits better with the great trees and the green grass. The building is nothing; the interior has the grace and the light of a cathedral chapel. Lord Monson decorated Gatton Church with the magnificence with which he imagined the hall, but his ideal for the church was quieter. He bought carved wood of the most exquisite workmanship and set it wherever the church could hold it; a pulpit and an altar from Nuremberg, said to be by Dürer, but the critics dispute it; the elaborately fitted stalls came from a monastery in Ghent, and altar rails from Tongres. Glass for the windows, of deep and glowing colours, he had from Aerschot, near Louvain; the east window, a strange painting, shows the eating of the Passover. One property the little church lacks; Lord Monson never gave it a wooden ceiling, and the ill-shaped stone vault is too white and cold for the stalls.
View from near Reigate.
The great coaching days have many memories of Reigate. The coaches changed horses at the Swan and the White Hart, and at the White Hart to-day's Brighton coach stops, I think, for lunch. But when Shergold wrote his Recollections of Brighton in the Olden Time, he speaks of the inn at which the Brighton coach stopped in the days of the Regency as the King's Arms. Inns have a most confusing habit of changing their names. When John Taylor, the Water Poet, in 1636, made his Catalogue of Taverns in Ten Shires about London, he found some seventy or eighty taverns in Surrey, but out of the forty-nine which he mentions by name, hardly a dozen would answer to their old signboards to-day. The Reigate White Hart in Taylor's day was the Hart.
According to Shergold, Reigate in the old coaching days was the scene of the most romantic episodes imaginable. He is full of comparisons between the easy charm of conversation among riders by coach and the ungracious silences of travelling by rail, and this is what you read about Reigate and the fair who travelled by coach:—
"There was an advantage and an interest in travelling by coach which travelling by rail can never communicate. In the former you saw men and their faces, and acquired some information; in the latter you learn nothing except the number of persons killed or injured by the last accident. A young man who entered the coach at eight o'clock in the morning at Brighton took his seat perhaps opposite a young lady whom he thought pretty and interesting. When he arrived at Cuckfield he began to be in love; at Crawley he was desperately smitten; at Reigate his passion became irretrievable, and when he gave her an arm to ascend the steep ridges of Reigate Hill—a just emblem, by the way, of human life—he declared his passion, and they were married soon after. Nothing of this sort ever occurs on railroads. Sentiment never blooms on the iron soil of these sulky conveyances. A woman was a creature to be looked at, admired, courted, and beloved in a stage-coach; but on a railway a woman is nothing but a package, a bundle of goods committed to the care of the railway company's servants, who take care of the poor thing as they would take care of any other bale of goods. It is said that matches are made in heaven; it may likewise be said that matches more often begin in the old stage-coaches, and that railroads are the antipodes of love."
The road from Reigate to Crawley, one of the straightest and levellest in the south country, was once the scene of a remarkable horse-race. The beginning of it was a discussion at a shooting party in the autumn of 1890 between Lord Lonsdale and Lord Shrewsbury on the pace of trotting and galloping horses. Lord Lonsdale backed himself to drive galloping horses for twenty miles, single, pair, four-in-hand and riding postillion, inside an hour. Lord Shrewsbury wagered against him, but there were difficulties about weather and the date—March 11, 1891—and eventually Lord Shrewsbury withdrew from the match and paid £100 forfeit. Lord Lonsdale then set himself the task alone, and his headquarters were at Reigate; he had fifteen horses in training, fifteen men and thirteen carriages, and the cost of keeping them at Reigate came to £150 a day. The course, a stretch of five miles of road, over which horses were to be driven in the four different styles was measured from Kennersley Manor, three miles south of the White Hart, nearly into Crawley. Snow fell on the tenth, the day before the match; Lord Lonsdale borrowed a snow plough and sent it over the road. At noon on the day of the race the horses and carriages were taken to the course; at five and twenty minutes to one Lord Lonsdale drove up in a pair-horse brougham; at one o'clock to the second he trotted his single horse, War Paint, to the starting-point, and War Paint bounded down the road. War Paint took 13 minutes 39-1/5 seconds over the five miles; it would have been twenty seconds less, but a brewer's dray had blocked the road. The pair-horse was waiting with Blue and Yellow, two Americans, in it; the change took three seconds, and Blue and Yellow galloped back to the start in 12 minutes 51-2/5 seconds. It was the turn for the coach, and it took 36-3/5 seconds to change across; a groom drove the team to the starting point, a yard before it Lord Lonsdale caught up the reins, and the four horses swept up the rise to Crawley again. Fifteen minutes and nine seconds and two-fifths the four horses took; the leaders were Silk and Everton King, the wheelers Conservative and Whitechapel, and they left their driver something over seventeen minutes to ride postillion back. It took 40-2/5 seconds to change from coat and hat for riding, and exactly at seventeen minutes to the hour Lord Lonsdale rode off on Draper, a chestnut, with a bay mare, Violetta, for the pair. Draper and Violetta went over the last five miles in 13 minutes 55-4/5 seconds, and in 56 minutes 55-4/5 seconds the twenty miles were covered. And so the great race ended.
The Pilgrims' Way dropping down like white ribands over the shoulder of the down into Reigate we have already seen. On the other side of the town the high road climbs up again to the crest of the ridge—a road paved and metalled to stand the perpetual wear of shod wheels grating down the hill. At the highest point of the road is one of the finest views in England; one of the finest, Cobbett thought, in all the world. The red roofs of the town cluster among trees below; beyond is all the Weald to the Devil's Dyke and Chanctonbury Ring, best of all landmarks of the Sussex downs. The separate views of the Weald along the chalk ridge have each their own characteristic, from the Hog's Back to the heights above Titsey. For me the view from the hill above Reigate has a double memory; the purple and blue of the downs seen through the stems of the beeches that line the crest, and the shadows thrown by a high summer sun in the parks and fields below. The oaks and elms set themselves in the open grass with little circles of darker green about their feet, like the wooden stands of the trees of a Dutch toy farm.
Redhill joins Reigate to the east, new, red, spreading, a junction of railways, a better sort of Woking. You do not have to wait from nine minutes to three-quarters of an hour every time you come to Redhill. To the schoolboy it has the merit of being a stage on the road from London and the sea.