Historical and Descriptive Guide Through Shrewsbury

by S. F. Williams

Further down the street, and on the right hand side, at the bottom of Grope Lane is what was once the Mercers’ Hall. A few paces beyond is a fine Elizabethan house now establishment of Mr. Springford, mercer, which for a long period prior to the present century was set apart as the Judges’ Lodgings. The large square opposite is the

MARKET SQUARE.

Conspicuous is the statute of Lord Clive, from a model by Baron Marochetti. As a work of art it has received high commendation; as a public monument it would be attractive if it were not bare—it would be an ornament if it were not destitute of all those auxiliaries which give to such objects a handsome finish. The magnificent stone building on the left is the County Hall, built at a cost of £12,000, and opened at the March assizes, 1837. This handsome edifice was unfortunately nearly completely destroyed by fire on the 17th November, 1880. Near it is the old Market House, a structure which presents a fine appearance, and which for ornamental decoration is not surpassed, if equalled, by any edifice of the same kind in any town in the kingdom. It was built in 1596, and the fact is recorded in an inscription above the front arch:—“The xvth day of June was this building begun, William Jones and Thomas Charlton, Gent, bailiffs, and was erected and covered in their time. 1596.” On the site there had stood five timber houses, two of which were erected in 1567 by Alderman John Dawes for “the saffe placinge of corn from wether, so that the owners thereof may stannd saffe and drye,” and the other three by Mr. Humphrey Onslow in 1571. Immediately over the inscription just quoted is a tabernacled niche containing a statue and arms. Various have been the conjectures as to the personage represented by the statue. Some say that it is the Black Prince; others that it is Llewellyn, Prince of Wales; others again that it is Llewellyn’s brother David, who was executed at the High Cross; others that it is Prince Arthur, eldest son of Henry VII. Roger Coke alludes to one of these opinions when, speaking of General Monk’s purpose to restore Charles II., he says, “and the end for which a free Parliament was called was interpreted by hanging out the king’s picture, which was no less gazed upon by the Londoners than by the Welshmen at King Taffey’s effigies on the Welsh gate, Shrewsbury.” The gate referred to stood on the old Welsh Bridge, over which, in a niche, was this identical statue, and when the tower which surmounted the gate was destroyed about 1770, the statue was removed to the Market Hall. The general belief is that the statue represents Richard, Duke of York, father of Edward IV. Vexed by all this uncertainty, has not the antiquarian reason to mournfully sigh,

“O that those lips had language.”

Several notable incidents have occurred in the Market Square. In 1547 the pictures of Our Lady from St. Mary’s Church, of Mary Magdalene and of St. Chad from St. Chad’s Church, were publicly burned here because they were supposed to be coloured with Popery. In 1579, on the 18th of August, the assizes were held in this place, “open and in the face of day.” The judicial bench consisted of the scaffolding of some new building, and from this dignified seat justice was dispensed. On the 17th of July, 1584, the public were entertained with a play performed in the Square by a company belonging to the Earl of Essex. Six years later, in the month of July, 1590, there was more public acting. A platform was erected for feats of skill, and a Hungarian, with a number of the Queen’s players, succeeded in some extraordinary achievements in the way of tumbling, rope-dancing—achievements of such an astonishing sort that “the like had never before been seen in Shrewsbury.” In the latter part of December, 1740, a portion of the roof of the Market Hall fell down, destroying life and property to the enormous extent of two millers’ horses, which were so inconsiderate as to stand underneath the covering. Thus this central part of the town reveals to us the development of local history. Once it presented a proof of an apprehension of Popery which led to an act of bigotry, then it marked the administration of justice, then it afforded room for the histrionic art, and then it was the stage for introducing to the good folk of Shrewsbury some wonderful gymnastic games.

The immediate vicinity of the Square is rich in antique buildings. The Mercer’s Hall and the old Judges’ Lodgings have already been just glanced at. Now, in turning to the left opposite the latter another fine old structure presents itself. It is Ireland’s Mansion, erected about 1570 as the town residence of the ancient family of Ireland. It was, of course, one house only, but it is now divided into three. Still keeping to the left we find ourselves in front of

THE NEW MARKET,

a handsome and commodious building, designed by Mr. Robert Griffiths, of Stafford, and constructed by Mr. Barlow, of Stoke-upon-Trent. The foundation stone was laid in 1867 by Mr. John Thomas Nightingale, then mayor of the borough. The total cost reached a sum not far short of £50,000. The market supplies a great and long-felt want, and, architecturally, adds to the attractions of the town. The Market brings us into

SHOPLATCH

—another peculiar name. In the time of Edward II. the appellation was written Sheteplach, then Sotteplace and Soetteplace, probably pronounced in accordance with the usage of the period, Shottplace. The name was derived from that of the Salopian family of Soto who had their residence here, and whose house—a portion of which still remains in a passage on the left—formed the principal property in the street. One chronicler indulges the fancy that the origin of the first syllable, Shop, Sotte, may be found in sote, which Chaucer uses for sweet, and that the place may have been called Sotteplace from its situation or conveniences. Unfortunately we are bound to reject this poetic derivation of the name, and accept the more common-place and prosaic etymology.