[33] Thomas Newton, before his removal into Essex, resided at Park House, in Butley, little more than a mile distant from Adlington. His mother, Alice Newton, in her will, dated December 22, 1597, leaves “one spurill ryall or XVs. in money to each of the right worshipful Thomas Legh, of Adlington, and Sybell, his wife,” the testatrix’s “worshipful good frendes;” and she also appoints “the right worshipful Thomas Legh, of Adlington aforesaid, Esquire,” overseer, earnestly entreating him to assist and direct her executors.
[34] A recent writer says (Contributions towards a History of Prestbury, p. 102): “Clumber appears to have been sequestrated from the Leghs during the Civil War, and never restored.” This is not quite accurate, for Thomas Legh, who died in 1687, by his will, dated 20th August, 1686, bequeathed to his younger son, Richard Legh, and his heirs for ever, “all that mannour or capitall messuage called Clumber, in the county of Nottingham, and all buildings, tenements, and hereditaments in Clumber aforesaid.”
[35] According to Colonel Fishwick it was Urian Legh, the uncle of Thomas, who was exchanged for Alexander Rigby the younger.—History of Goosnargh, p. 148.
[36] It is said that in the cellar at Old Hollin Hall there is a stone bench with this inscription graven upon it:—“This must stand here for ever—Richard Broster, 1757.”
[37] In the Chetham Library there is a curious MS. folio volume purchased at the sale of the Adlington Library in 1846, and now known as the “Adlington MS.” On the fifth page from the end is written, “Finis, Quod sum non curo quod ero spero Thomas Leyghe.” Thomas Legh, it would seem being the compiler. Among other interesting matters relating to Cheshire which it contains are “The Armes of Gentlemen as they be placed over the Chimney in Adlington Hall, 1611.”
[38] A story is told respecting the great composer which, as it associates his name with Cheshire, we may be excused for repeating. As is well known, his masterpiece, the Messiah, was first performed in Dublin, in 1741. While on his way there he was detained for a time at Chester, the wind being unfavourable for his embarkation at Parkgate. Wishing to employ the time in trying some pieces in his new oratorio, he inquired for some one who could read music at sight, and a printer, named Janson, who had a good bass voice, was recommended to him as one of the best musicians attached to the cathedral. A time was fixed for a private rehearsal at the Golden Falcon, where Handel was staying; but, alas! on trial of the chorus in the Messiah, “And with His stripes we are healed,” poor Janson after repeated attempts, failed so egregiously that Handel let loose his great bear upon him; and, after swearing in four or five different languages, cried out, in broken English, “You schauntrel! Tit not you dell me dat you could sing at soite?” “Yes, sir,” replies the printer, “and so I can; but not at first sight!” Handel on this burst out laughing, and the rehearsal, it is said, proceeded no further.
[39] According to another version, it was at Edgeware, and not at Adlington, that Handel heard the anvil sounds which suggested the “Harmonious Blacksmith.” The great composer dwelt at Canons, the guest of the Duke of Chandos, within three quarters of a mile of Edgeware, and was for three years the organist of Little Stanmore Church. The authority for the Edgeware or Little Stanmore version rests mainly on local tradition and the following inscriptions:—On the organ of Little Stanmore Church: “Handel was organist of this church from the year 1718 to 1721, and composed his oratorio of ‘Esther’ on this organ.” On a tombstone in the churchyard: “In memory of William Powell, the ‘Harmonious Blacksmith,’ who was buried 27th February, 1780, aged 78 years. He was parish clerk during the time the Immortal Handel was organist of this church.” Powell was a blacksmith at Edgeware smithy. [Information obligingly communicated by J. Oldfield Chadwick, Esq.]
[40] Gibbons, of whom Horace Walpole said “there was no instance of a man before who gave to wood the loose and airy lightness of flowers, and chained together the various productions of the elements with a freer disorder natural to each species,” died in 1721, and, while there is good reason for supposing that the reconstruction of the dining and drawing rooms was affected at a later date, Sephton was certainly employed by Charles Legh, and it is more than probable that the carvings at Adlington were his work. Possibly, the close resemblance which these productions of the chisel bear to the well-known works of the great artist led to their being attributed to Gibbons.
[41] Local Gleanings (Lancashire and Cheshire), V. ii. p. iii.
[42] Ormerod’s Civil War Tracts, p. 238.