It was to the descendants of Margaret Greville, sister to Sir Fulke the first Lord Brooke, and grand-daughter of the Lady Elizabeth, that the title of Willoughby de Broke, was destined to be restored. She married Sir Richard Verney, of Compton-Murdack in Warwickshire, the then representative of that very antient and distinguished family. Sir Richard died 7 Aug., 1630, and Lady Margaret 26 March, 1631. They had issue four sons and four daughters. Sir Greville ob: 1642, the eldest son of Sir Richard, had also four sons,—Greville, the eldest; John, who died young; Richard, of Belton; and George. This descent of Greville (the eldest son of Sir Greville) became extinct on the death of his son William in 1683, leaving no issue.

The succession was now vested in Richard of Belton in the county of Rutland, third son of Sir Greville. He was a person of considerable culture and influence, and Sheriff and Knight of the shire for Warwick. As descendant through the heiress of Greville, from Robert Willoughby, Baron of Broke, he laid claim to that title, which was allowed him in Parliament 13 February, 1695,—8 William III., and on the twenty-fifth of that month, had summons by writ to the house of peers, and on the twenty-seventh took his seat accordingly as the third Baron Willoughby de Broke,—the original title being granted 12 August, 1492,—7 Henry VII. He married two wives, lived to the great age of ninety, and was buried at Compton-Verney, Warwickshire. The title is still held by his descendants.

Here ends our direct genealogical and biographical details, and we retrace our steps to the church of Beer-Ferrers, where the second Lord Willoughby de Broke was buried. We have described such remembrances as remain there to the families of Ferrers and Champernowne, and it now becomes our province to make note of the memorials that exist to their successors the Willoughbys.

The first traces that meet the eye are on the bosses of the roof of the south porch—whereon are shields charged with the arms of Ferrers, Cheney, Latimer, &c.; and a glance within the church shews us a pleasing array of bench-ends, of well designed tracery and uniform design, except the two easternmost, which are ornamented with shields of arms, referable to their presumed donor. On one is the achievement of Willoughby de Broke, similar to the escutcheon on the tomb at Callington, on the other the bend and horse-shoes of Ferrers, here made four in number, and saltierwise across them, are five rudders,—that descended to and was adopted by Willoughby. Both porch and bench-ends are of late fifteenth century work. We pass into the north transept, and there on the north side of the position of the antient altar once therein, and standing at right angles from the wall, is a large high-tomb of Purbeck marble. The massive cover stone is plain, but around its edge is a deeply sunk indent in which was originally the inscription either on brass or painted within it. Below in panels are shields with classic wreaths around them, boldly sculptured,—there are no charges on the escutcheons, and they appear to have been originally covered with brasses, on which the charges were emblazoned.

The era may be referred to the first half of the sixteenth century, and with great probability it may be considered to be the tomb of Robert, the second Lord Willoughby de Broke, who died in 1522.

TOMB OF THE SECOND LORD WILLOUGHBY DE BROKE, BEER-FERRERS.
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Before we leave the sacred edifice, a chastened thought creeps over us, as we take a last look at the fine old glass in the east window. Just seventy years a-past, a gifted student in the pursuit we also at humbler distance love, made pilgrimage here, and was engaged in making a drawing of its interesting painted story, when death suddenly stayed the work of the artist, snapping the very pencil in his fingers, and instantly translated him, from picturing the earthly image of the Founder of these courts below, into his immortal presence in the great temple above, and the company of all those who "have died in His faith and fear." Gratefully we note, appreciative minds have placed a small brass in the pavement, where, on the 28 May, 1821, Charles Alfred Stothard met with his sad, and to mortal sight, untimely end. His cunning fingers are mouldering in the dust below, and moss and decay are stealthily obliterating his record outside, but the fidelity and truth of his works remain bright and undimmed, forming his best and most enduring monument,—for

"It is the gods that die, not God;
It is the arts that perish, not Art;
And beauties may disappear, but Beauty herself
Is immortal."