The Stately Homes of England

by Llewellynn Frederick William Jewitt; S. C. Hall

II. First Percy, from 1309 to 1315: the second founding and great reparation of the castle, with either the complete rebuilding or the original erection of many of its most important parts. At this period were erected the Barbican, the Gate-House, the Western Garret; the Abbot’s, Falconer’s, Armourer’s, Constable’s, and Auditor’s Towers; also the Postern and the Ravine Towers, the Gateway between the first and second baly, with the adjoining curtain-walls both east and west, a great portion of the east side of the Keep, the Well, and the grand Baronial Hall.

III. Second Percy, from 1315 to 1352; the completion of portions of the works of the preceding period, and the erection of the two flanking towers (No. 8 in plan) in advance of the Norman entrance to the Keep: these towers are represented in our engraving.

IV. Third Percy, ending in 1455: various important reparations and additions, most of the latter having been removed by the first duke in the next period.

V. First Duke of Northumberland, from 1750 to 1786: general reparation, after a long period of neglect and ruin, including a material transformation of the greater part of the castle. The Keep was almost entirely demolished, and rebuilt after the manner that was called (and, in one sense of that term, really was) “Gothic” in the eighteenth century in England; and the towers and curtain of the circumvallation suffered in like manner.

VI. Fourth Duke of Northumberland, from 1854 to 1865: complete restoration of the entire castle. The important works erected by Duke Algernon along the lines of the circumvallation, and to the south and the south-west of these lines, have already been described; in addition to these, the duke rebuilt the range of apartments extending from the Keep southwards to the Edwardian Gateway from the first to the second baly; and he built the noble Prudhoe Tower, with the chapel adjoining it, the Ante-Room, the Guard Chamber, the present Dining-Hall, and the completion of the Keep.

The governing idea of this restoration was really to restore, in all their leading and most characteristic features, the mediæval arrangements and aspect of Alnwick Castle so far as its exterior was concerned; while, at the same time, the whole of the interior of the restored edifice was to be planned, fitted, and adorned, in the most sumptuous style, after the manner of a cinquecento Roman palace, and with all the luxurious splendour and the various skilful contrivances required and suggested by the taste and the usages of the present day. The only important deviation from the former part of the duke’s plan, was the removal of the Edwardian Towers, and the adjoining curtain-wall between the Abbot’s Tower and the Postern Tower, in order to open the view from the windows of the new Prudhoe Tower towards the north: but the Italian portion of the scheme was accomplished in its integrity. The whole of the architectural restoration and rebuilding was carried out with the most perfect success, under the direction of Mr. Salvin, an architect eminently distinguished for his practical knowledge of the Early Gothic of England in its military aspect, as also for both the conscientious fidelity of his restorations and the judicious consistency of his original designs. We can easily understand with what satisfaction Mr. Salvin must have removed the Strawberry Hill pseudo-Gothic of the first duke, as well as the far higher gratification which must have attended the progressive realisation of his own truly admirable compositions.

Alnwick Abbey.

The project for causing the thoroughly English mediæval military-Gothic casket of Mr. Salvin to enclose contents that should be in every respect the very reverse of what is either English or mediæval or military or Gothic, was discussed and finally adopted at a congress held in the castle under the presidency of Algernon, Duke of Northumberland, and attended by the English professors of classic architecture, Cockerell and Donaldson; the Roman antiquary, the Commendatore Canina; and the Italian architect, Signor Montiroli. It is to be regretted that such masters of Gothic Art as Scott, Waterhouse, Street, and Burges had not also been present, who might have saved the Border Castle of the Percies from the magnificent anomaly of being externally English and internally Roman. The execution of the whole of the interior can be described only in terms of the highest commendation; and it is especially satisfactory to know that the profusion of carved work in an Italian style which was required for the various purposes of decoration, and which has been pronounced to be “a marvel of delicacy and finish,” was produced under the direction of Signor Bulletti of Florence, by a staff of English and Scottish carvers, who worked for several years in a studio established for that particular purpose in the castle. There also was a second studio, in which the more important of the decorations in plaster were modelled and cast. It is scarcely necessary to add that in all the minor details of furnishing, the grand original plan has been fully and faithfully carried into effect. While we cordially recognise as well the enlarged views and the princely munificence of the duke himself, as the skill, the taste, and the ability of every individual who took part in his great work of restoration, it is impossible not to regret that so glorious an opportunity for vindicating the versatile and comprehensive powers of true Gothic art should have been permitted to pass away. There can be no question as to the capacity of the same great style to have rendered the interior of Alnwick Castle a type of splendid, and yet agreeable, magnificence, which on the exterior has displayed its structural resources in a manner at once so noble and so consistent. But, as this was not to be, we rejoice in knowing that what has been done within the Percy walls has been done so well; and our gratification is the more sincere and the more hearty, because at every point the Percy walls themselves, true to their grand traditions, wear such an aspect as Hotspur might have recognised with an approving smile, and the old Earls of Northumberland would have been proud to accept as becoming their northern home.[23]