We now pass on, by the south door of the Saloon, into the Ante-Drawing-Room, differing materially in its enrichment from the room we have just quitted, but withal an apartment of chastened beauty. It has a flat ceiling, adorned with delicate tracery in cream-colour and gold; the walls painted a rich arabesque, enchased throughout with red and green on a cream-coloured ground. Three bookcases, filled with modern ‘light reading’ in elegant bindings, add a grace to the apartment,—the fine windows of which contain stained glass figures of Hugh Cyvelioc, Randle Blondeville, and John Scot, the last of the line of Norman Earls of Chester.
Next we have the Drawing-Room, second only to the Saloon in the splendour of its decorations. Fifty feet in length—its ceiling sparkling with heraldic shields, and honeycombed with tracery in cream-colour and gold—its walls hung with rich crimson silk damask; its superb niches, vases, and chandelier; its marble chimney-piece and mirror; its glorious original pictures of the “Wise Men’s Offering,” by Rubens, the “Battles of the Boyne and La Hogue,” by West, and other celebrated works of art,—all invest this room with a halo which no words of ours can possibly do justice to. It must be seen to be appreciated; and to be admired as it deserves, must be closely scrutinised in all its bearings.
From the Drawing-Room we proceed, along the corridor, into the Library, a spacious apartment at the southern extremity of the Hall. This well-proportioned room measures sixty-two feet by fifty feet; a range of pillars on either side adding symmetry and strength to its richly groined ceiling. Three bold Gothic windows, facing south, east, and west, shed a fine flood of light into the room; the oaken bookcases of which are filled to overflowing with the richest and rarest works of ancient and modern literature. Upon the left we observe a fine organ, in a carved mahogany case. But the most attractive objects, apart from the library itself, are the remarkably chaste and beautiful conceptions in marble of “Cephalus and Procris,” by Rinaldi, which occupies the centre, and the quite as enchanting chefs-d’œuvres of Wyatt—“Glycera” and “Hebe.” In this room also is preserved one of those extremely rare Romano-British ornaments, a golden Torque, discovered some years ago near Caerwys, in Flintshire. The Torque was an ornament worn round the necks of illustrious British warriors: Queen Boadicea, and Llewellyn, Lord of Yale, are both recorded to have been so decorated. Who was the original owner of the one now before us is a matter, of course, wrapped in impenetrable obscurity.
But time presses, and we, too, must press on. Passing out from the Library, we may now direct our steps to the State Bedroom. This is a plain, yet elegant, apartment,—its prime feature being the mahogany State Bed, most elaborately carved, whereon have reposed the sleeping majesty of England, and other royal and distinguished personages. The handsome mirror, the rich green Brussels carpet, and other furniture of the chamber, are all in chaste and admirable keeping with the principal Bedroom of this “Palace on the Dee.”
Turn we now to the Grand Staircase, a portion of the Hall which may vie with any we have yet visited, whether for beauty or variety. A flight of stairs running up from the centre, continued again towards the right and left, conduct to the second gallery, and to the private apartments on the higher story. Opposite to us, on either side as we ascend, are two Egyptian statues in coloured marble, within rich Gothic niches. The decorations of this staircase are sumptuous in the extreme, blue and gold being the predominant colours,—the whole producing to the eye of taste a grand, impressive, and lasting effect. Among the paintings embellishing this staircase and its vicinity are the “Leicestershire Hunt,” by Ferneley, the “Grosvenor Hunt,” by Stubbs, and another of the “Cheshire Hunt,” all three introducing portraits of the Grosvenor family, either of the last or present generation. Another picture deserving our notice is that of a “Brood Mare and Foals,” painted also by Stubbs. The private Sitting-Rooms of Lord and Lady Westminster, which with other apartments adjoin the Great Corridor, are not exhibited to strangers. Numerous pieces of statuary, family portraits, and racing pictures, many of them of great interest, arrest our attention as we move along the Corridor; but having now returned to the Entrance Hall, we must beat a hasty retreat from this scene of enchantment, and, emerging from its portals, bid “a last, a long farewell” to Eaton Hall, the palatial home of the Marquis of Westminster.
Before we do so, however, if provided beforehand with tickets from “our publisher,” we may take a turn round the spacious Gardens on the east side of the Hall. Though time and space alike forbid us to enlarge upon their charms, the Gardens of Eaton will amply repay the careful inspection of every admirer of “nature, art-adorned.” The rich groves of trees—the rare shrubs and flowers, with their attendant perfumes—the crystal conservatory—the massive statuary—the dolphin fountain—the Roman altar, dedicated by the Twentieth Legion to the “Nymphs and Fountains”—the fairy lake—the verdant lawns, and walks of “sweet umbrageous beauty,”—each and all combine to invest these Gardens with a charm peculiarly their own! Gladly would we linger all day in this sylvan retreat,—but we must away!—and exchanging our barge for a cab with a party just arrived (cabman and boatmen first of all consenting), we are soon out of sight of the “Palace on the Dee.”
Moving rapidly along the avenue, past yon herd of timid deer, startled into flight at our approach, we soon flit beneath the archway of a lodge which marks the boundary of the park. A ride of two miles, through a serpentine avenue of “old hereditary trees,” now remains to us; and from this we emerge only to behold the Grosvenor Gateway, with old Chester in the distance “lending enchantment to the view!” The Grosvenor Gateway was erected in 1838, on the site of Overleigh Hall, once the manorial seat of the Cowpers of Overleigh. This lodge is a copy of St. Augustine’s Gate, at Canterbury, altered (some say improved) here and there by Mr. Jones, architect of Chester. Built, like the Hall itself, of white freestone, enriched with a profuseness of carving and heraldic sculpture, this Entrance Lodge to the Eaton Estate forms a fitting introduction to the magnificent mansion we have just quitted, and of which, in conclusion, we may truly enough say that
Take it for all in all,
We ne’er shall look upon its like again!
In five minutes more our cab is rolling over the well-paved streets of Chester. And now, as you are off by the next train, and as the best of friends must part, we will shake you by the hand, and trusting you have enjoyed yourselves under our protection, wish you, with all our heart, a swift and pleasant journey to your Home, Sweet Home!
In closing this account of Eaton Hall, it is our pleasing duty gratefully to acknowledge Lord Westminster’s kindness and favour, not only in throwing open the mansion and grounds to us on a “private day,” but also in affording us every possible assistance in our humble endeavours, however feebly, to do justice to his peerless Cheshire home.