The ceiling of the Bay Window is also ornamented, but in a different style, being panelled with scrolls and ogee lines, and having in the centre an angel, apparently rising into the clouds; the seats and panelling from this window are gone, and the space is filled with broken panels, mouldings, and “firewood;” the wind and rain force their way between the pieces of board which stand in the stead of glass; and the ivy has in many places forced itself through from the outside. This Bay Window, with a square window of six lights close to it, looks into the moat. This side of the house has been quite neglected: windows are partially boarded up, and it is difficult to trace any architectural features, except the two fine Chimneys; all else is a complete wreck, exhibiting grievous proof of the want of taste and right feeling in the present owner. The Chimneys here are stone, but the greater part of the building is of wood; a few bricks have been introduced, but only because they were absolutely necessary to support the tottering woodwork from the ruin that follows neglect. Another window, at the end, looked into the garden, into which there was also a communication through an arched doorway—shown in the garden front view—having the initials carved on it. The whole of the drawing-room is of oak, from the floor to the ceiling; the panels at the top of the end adjoining the Great Hall are pierced with stars and circles of different kinds in two rows; intended doubtless to destroy the dull uniformity which must have been otherwise exhibited by one hundred and twenty panels broken only by two doorways.
It only remains to notice the Carved Oak Chimney-piece in this room, with which time has not yet made so much havoc as it has with the ceiling. From the carved figures and inscriptions on the frieze, there can be no doubt of its representing a pedigree of the Norris family for three generations. It consists of three principal compartments, separated by pairs of square columns, having their interstices occupied
by beautiful arabesque foliage of different patterns, the whole resting on a base corresponding with the extent of the fireplace, and finished with carvings of a similar kind to those filling the spaces between the columns. An inscription formerly ran along the cornice, explanatory of the figures in the different compartments, but it is entirely gone: the remainder is in a fair state of preservation, and is a good specimen of the class introduced into England, when the Italian became mixed with our English classic in domestic architecture.
The ancient Hall of Speke supplies a highly interesting example of the architecture of the period. Although time has made sad havoc among its beauties and peculiarities, and it has been shamefully neglected by those who should have cherished the old House, as “the apple of an eye,” its leading outlines still exist unimpaired; the arrangements of the several apartments may be distinctly traced; and if by some fortunate event it should happen to fall into the hands of parties capable of estimating its worth, its restoration might be so effected as to exhibit a perfect mansion of the 16th century.
Most auspiciously situated in the midst of rich and lovely scenery, surrounded by venerable trees, many of them coeval with the building, it would seem as if all the moral, social, and physical wants of the owner might be supplied by means ready at his hands. Alas! that there is no manorial lord to estimate the value of rare gifts of nature and fortune beyond the actual profit the venerable walls can be made to yield.
J. S. Dodd Delᵗ on Stone by W. Walton M. & N. Hanhart, Lithogʳˢ.