The style of architecture adopted in the new Hall is that of the age of Edward III, as exhibited in that Parthenon of Gothic architecture, York Minster; although the architect, Mr. Porden, has occasionally availed himself of the low Tudor arch, and the forms of any other age that suited his purpose, so as to adapt the rich variety of our ancient ecclesiastical architecture to modern domestic convenience. Round the turrets, and in various parts of the parapets are shields, charged in relievo with the armorial bearings of the Grosvenor family, and of other ancient families that, by intermarriages, the Grosvenors are entitled to quarter with their own. The windows, which are "richly dight" with tracery, are of cast-iron, moulded on both sides, and grooved to receive the glass. The walls, battlements, and pinnacles, are of stone, of a light and beautiful colour, from the Manly quarry about ten miles distant.
The annexed engraving represents the west-front of the house, in the centre of which is the entrance, by a vaulted porch, which admits a carriage to the steps that lead to the Hall, a spacious and lofty room, occupying the height of two stories, with a groined ceiling, embellished with the Grosvenor arms, and other devices, in the bosses that cover the junction of the ribs. The pavement is of variegated marble in compartments. At the end of the Hall, a screen of five arches support a gallery which connects the bed-chambers on the north side of the house with those on the south, which are separated by the elevation of the Hall. Under this gallery, two open arches to the right and left conduct to the grand staircase, the state bed-room, and the second staircase; and opposite to the door of the hall is the entrance to the saloon. The grand staircase is elaborately ornamented with niches and canopies, and with tracery under the landings; and in the principal ceiling, which is surmounted with a double skylight of various coloured glass. The state bed-room is lighted by two painted windows, with tracery and armorial bearings. In the saloon are three lofty and splendidly painted windows, which contain, in six divisions,—the portraits of the conqueror's nephew, Gilbert le Grosvenor, the founder of the Grosvenor family, and his lady; of William the Conqueror, with whom Gilbert came into England; the Bishop of Bayeux, uncle to the conqueror; the heiress of the house of Eaton; and Sir Robert le Grosvenor, who signalized himself in the wars of Edward III.
The saloon is a square of thirty feet, formed into an octagon by arches across the angles, which give to the vaultings a beautiful form. Opposite to the chimney piece is an organ richly decorated. On the left of the saloon is an ante-room leading to the dining-room; and on the right, another leading to the drawing-room: the windows of these rooms are glazed with a light Mosaic tracery, and exhibit the portraits of the six Earls of Chester, who, after Hugh Lupus, governed Cheshire as a County Palatine, till Henry III bestowed the title on his son Edward; since which time the eldest sons of the kings of England have always been Earls of Chester.
The dining-room, situated at the northern extremity of the east front, is about 50 feet long and 30 feet wide, exclusive of a bay-window of five arches, the opening of which is 30 feet. In the centre window is the portrait of Hugh Lupus; which, with the portraits of the six Earls of Chester, in the ante-room windows, were executed from cartoons, at Longport, Staffordshire. The ceiling is of bold and rich tracery, with a profuse emblazoning of heraldic honours, and a large ornamented pendant for a chandelier.
The drawing room, which is at the southern extremity of the east front, is of the same form and dimensions as the dining-room, with the addition of a large window to the south, commanding the luxuriant groves of meadows of Eaton, and the village and spire of Oldford above them. All the windows of this room are adorned with heads and figures of the ancestors of the family; also the portraits of the present Earl and Countess, in a beautiful brown chiaro-scuro. The ceiling is tracery of the nicest materials and workmanship emblazoned with the arms of the Grosvenor family, and those of Egerton, Earl of Wilton, the father of the present Countess Grosvenor.
Eaton became the property of the Grosvenor family through the marriage of Ralph Grosvenor, in the reign of Henry VI with Joan, daughter of John Eaton, then owner of this estate. The Grosvenor family, as we have already intimated, came into England with William the Conqueror; they derived their name from the office of chief huntsmen, which they held in the Norman court; and, when "chivalry was the fashion of the times," says Pennant, "few families shone in so distinguished a manner: none shewed equal spirit in vindicating their rights to their looms." He then mentions the celebrated legal contest with Sir Richard le Scroope, for the family arms—Azure, a bend or. This cause was tried before the High Constable and the Earl Marshal of England, in the reign of Richard II. It lasted three years; kings, princes of the blood, and most of the nobility, and among the gentry, Chaucer, the poet, gave evidence on the trial. "The sentence," says Pennant, "was conciliating; that both parties should bear the same arms; but the Grosvenours avec une bordure d'argent. Sir Robert resents it, and appeals to the king. The judgment is confirmed; but the choice is left to the defendant, either to use the bordure, or bear the arms of their relations, the ancient Earls of Chester, azure, a gerb d'or. He rejected the mortifying distinction, and chose a gerb: which is the family coat to this day."
Hitherto we have only spoken of the artificial splendour of Eaton. The natural beauties with which it is environed will, however, present equal, if not superior, attraction for the tourist. The stiff, formal walks of Vanbrugh no longer disfigure the grounds, which are now made to harmonize with the contiguous landscape, and are enlivened by an inlet of the Dee, which intervenes between the eastern front of the mansion, and the opposite plantations. These alterations have, however, been made with great judgment, and a few of the venerable beauties of the park remain. Thus, a fine aged avenue extends westward to a Gothic lodge in the hamlet of Belgrave, about two miles distant from the Hall. Another lodge, in a similar style of design, is approached by a road, which diverges from this avenue towards Chester, and crosses the park, through luxuriating plantations, which open occasionally in glade views of the Broxton and Welsh Hills. The most pleasing approach to this noble mansion is one which has been cut through the plantations, towards the north-east angle of the house, so as to throw the whole building into perspective.
Viewed from either of the beautiful sites with which the park abounds, Eaton is a magnificent display of towers, and turrets, pinnacles and battlements, partly embosomed in foliage, and belted with one of the richest domains in England. Indeed, its splendour seldom fails to strike the overweening admirer of art with devotional fondness, which is not lessened by his approach to the fabric.[1] The most favourable distant views are from the Aldford road, and from the romantic banks of the Dee, whence there is a proud display of architectural grandeur. In every point, however, the grounds and mansion of Eaton will abundantly gratify the expectations of the visiter. Altogether, they present a rich scene of nature, diversified and embellished by the attributes of art; and the admiration of the latter will be not a little enhanced by the reflection that the building of this sumptuous pile provided employment for a large portion of the poor of Chester during one of the most calamitous periods of the late war.
[1] One view from the interior deserves special mention: viz. from the saloon, upon a terrace 350 feet in length, commanding one of the richest landscapes on the banks of Dee. The boasted terrace at Versailles is but 400 feet in length; yet, how many Englishmen, who have seen the latter, are even ignorant of that at Eaton.
The noble founder of Eaton has indeed learned to "build stately," and "garden finely;" and has thus made the personal fruition of his wealth subservient to its real use—the distribution.