A CROWD IN COOKHAM LOCK.
At the lower end of the new cut we pass through a lock into the main channel of the Thames, a short distance below a weir, and at the very foot of the Cliefden woods. It would be difficult to find a fairer scene on any river within the limits of our island, and not easy did we take a wider range over the surface of the earth. On both sides Art has been called in to the aid of Nature; but that aid has been only bestowed where it is a boon. The level island on the right hand has been converted into a beautiful garden, where clusters of bright flowers stud the greenest of lawns, and trees from distant lands are mingled with those of native growth. On the opposite shore the hand of the gardener is less conspicuous, and his art, though the more subtle, has been concealed. The chalky upland, which for some miles past has formed a marked feature in the scenery, and has bounded our view in front, now descends to the river brink in steep slopes, sometimes almost in cliffs. Between the foot of these and the water, only here and there does a narrow strip of level land intervene. On two or three of these a picturesque cottage has been built, and the brightest, gayest, trimmest of gardens planted; but the slope itself is one mass of trees and brushwood, through which, though very rarely, gleams forth a little crag of the white chalk rock. All the trees of England seem to have congregated on this bank: there are hazel and maple and thorn; there are ash and oak, and beech and elm; there are chestnut and sycamore, and, especially at this upper end, the brighter tints of the deciduous trees, and of the broad-leaved evergreens, are dappled by the sombre hues of Scotch firs, with their ruddy trunks, and of ancient yews, very possibly lineal descendants of trees among which the ancient Britons hunted, before ever a Roman galley floated on the Thames. For Cliefden Woods, though doubtless they are in part the result of the gardener’s art, are very probably a relic of the primæval forests which once covered so large a part of England. As in the Kentish Weald, this rough and broken ground must always have been waste, and there trees would take root, from the time that the slope first was furrowed out by the river, and there would be the “lurking-place of wild beasts,” in days when the huntsman wore skins for clothing, and pointed his arrows with chipped flints. Down by the river’s brink what a wealth of beauty is often to be found; the waterside plants grow strong and free, pink willow-herb and purple loosestrife, yellow fleabane and St. John’s wort, with numbers more which it is needless to mention; while the bank above is green in summer with many a herb, and bright in spring with many a flower. No trim shrubbery this on the Cliefden steeps; nature is left to wanton at will—nay, even to struggle for existence. Ivy and briony and wild bine festoon and sometimes half smother the trees, while the traveller’s joy creeps and clings in masses so profuse that from afar it seems to flicker like grey lights among the green shadows.
From this position we cannot see the mansion, but from time to time as we pass down the stream it comes into view, standing above the slope on the edge of the plateau. Its absence is a boon rather than a loss; its clock-tower, indeed, as it rises above the hills, occasionally forms a pleasant addition to the view; but the house is not particularly striking in itself, and the design is wholly unsuitable for its position. That requires a building of irregular outline and broken, but well-conceived sky-line. This magnificent site, above the great river cliff, ought to have been crowned with a group of buildings, whose outline should suggest a cluster of hills. Yet the design of Cliefden House could readily be imitated with three or four packing-cases. It was a great opportunity, such, for instance, as that of the architect of the Parliament Buildings at Ottawa not only had, but also seized; but here, as is the rule, it has been wholly wasted, for to find an architect who has also the feelings of an artist is rare indeed. Since the Middle Ages they have been seldom more than learned master-masons. So we shall look as little as possible at Cliefden House, and as much as possible at its woods, and be thankful even for the tiny mercies of its clock-tower. The present house occupies the site of an earlier mansion, which was destroyed by fire, as was that which it succeeded. The destruction of the first house, in the year 1751, may be used to point a moral against reading in bed—at any rate, by the light of a candle. One of the maid-servants, while indulging in this practice, fell asleep, the candle set the hangings on fire, she woke up in too great a fright to do anything to extinguish the flames, and in a surprisingly short time almost the whole of the mansion was destroyed, but little of the furniture and few of the pictures being saved. This house had been erected by the notorious George Villiers, second Duke of Buckingham, whose duel with the Earl of Shrewsbury is among the memories of another part of the Thames; and when the latter fell wounded, it was to the shelter of this mansion that the guilty pair went off in triumph. Time, however, brought its revenge, when Villiers died “in the worst inn’s worst room”:
“How changed from him
That life of pleasure and that soul of whim!
Gallant and gay, in Cliefden’s proud alcove
The bower of wanton Shrewsbury and love....
There, victor of his health, of fortune, friends,
And fame, this lord of useless thousands ends.”
To him, as owner of Cliefden, in course of time, succeeded Frederick, Prince of Wales, father of George III. Of him