A semicircular walk leads to the mansion. The doors, both back and front, of the principal entrance, are exceedingly fine specimens of wood-carving. They are extremely massive, and carved in a geometric pattern; the circular portion above being filled in the front door
with figures emblematic of the arts of Peace, that of the back leading into the garden, representing War in a chariot drawn by wolves. We have engraved this beautiful door. It originally led into the inner court; it now leads to the arcade facing the garden, which is believed to have been the site of the ancient monastery, as many stone coffins have been discovered there.
Entering a small vestibule the great hall lies to the right; it is ninety feet in length, twenty-seven feet wide, and twenty-nine feet high; it is too square to be considered in good proportion, a fault found by all since its first erection. Its principal feature is the magnificent oak screen, which occupies the entire north end. It is most elaborately carved and ornamented with a great variety of grotesque figures executed in bold relief, and is said to have been originally procured from Italy; but of this there may be entertained considerable doubt, as it is precisely similar in its details to many others which still exist and are of English workmanship. The fireplace is of similar design, and our initial letter exhibits one of its many beautiful compartments. The hall is wainscoted, and is lighted by five windows, that in the centre having a large projecting bow, extending from the cornice to the floor which is paved. It is hung with family pictures, among which those of the Cornwallis predominate—the ancestors of the present Lady Braybrooke. The ceiling is of plaster, divided into forty square compartments, formed by the massive oaken beams supported by richly-carved brackets. These compartments are filled with the crests and cognizances of the Howard family, worked in raised stucco and encircled by a border. A gay effect is produced by the many silken banners which hang from the walls.
Opposite the fine old wooden screen is an open one of stone, for which, says Lord Braybrooke, “we are indebted to the bad taste of Sir John Vanburgh, who removed the south wall to enlarge the hall, which had been censured by Evelyn and others as too small in proportion to the rest of the house, and being desirous at the same time to obtain sufficient space for a double flight of stairs leading to the saloon”—the subject of our second plate; it is in every sense a magnificent room, and is sixty feet in length, twenty-seven feet three inches wide, and twenty feet eight inches high. The description of the noble owner must be here quoted: “It was originally called the Fish-room, after the dolphins and sea monsters represented in bold relief upon the ceiling, which is of stucco, and divided into thirty-two compartments with raised borders. From each angle of these compartments hang pendants of considerable dimensions elaborately wrought, and producing a striking and singular effect. The fittings of the wall are of wood-work, painted in white and gold, and carved up twelve feet from the ground; the cornice and frieze, being supported by pilasters placed at equal distances, the spaces between which are allotted to portraits, in whole-length, of the different persons connected with the history of Audley End, let into arches serving as frames, and the spandrils of which are filled with rich foliage. Upon the wall above the cornice, which has a bold projection, are quatre-feuilles, worked in stucco, probably added after the room was finished, and not in character with the ceiling. The frieze is deep, and decorated with lions’ heads and a variety of other patterns, carved in wood. The pilasters are also surmounted by grotesque heads. The large western bow, to which we ascend by three steps, commands a
fine view of the grounds, the river Cam, and the ancient stables beyond, here engraved; they are of red brick and are exceedingly picturesque, embowered as they are in antique trees. The chimney-piece is completely in keeping with the rest of the apartment, and, though not dissimilar to those already described, greatly surpasses them in the beauty of the carved work and the brilliancy of the gilding. In the centre are emblazoned the arms of Thomas Earl of Suffolk, impaling Knivett and his quarterings, and encircled by the Garter. The female figures and ancient heads on each side, as well as the arms and crests of Lord Howard de Walden and his two wives, were painted by Rebecca.”
The suite of rooms in connexion with the saloon are fine and contain some good ceilings and fireplaces. In one of them is preserved the interesting relic here engraved. Its history is thus told on a brass plate inserted in the back:—“This chair, once the property of Alexander Pope, was given as a keepsake to the nurse who attended him in his illness; from her descendants it was obtained by the Rev. Thomas Ashley, curate of the parish of Binfield, and kindly presented by him to Lord Braybrooke in 1844, nearly a century after the poet’s decease.” It is apparently of Flemish workmanship, and of rather singular design; in the central medallion is a figure of Venus, holding a dart in her right hand, and a burning heart in her left. The narrow back and wide-circling arms give a peculiarly quaint appearance to this curious relic of one of our greatest poets.
The upper and lower floor of this wing are connected together by a fine oak staircase,