,,old ,,english ,,mansions ,,depicted ,,by ,c4 ,j4 ,,richardson ,j4 ,d4 ,,harding ,,joseph ,,nash ,h4 ,,shaw ,,others ,,edited ,,by ,,charles ,,holme ,,mcmxv 8,,the ,,studio0 ,,ltd4 ,,london1 ,,paris1 ,,new ,,york ,,list ,,of ,,plates ,hampton ,court ,palace1 ,entrance ,gateway to the ,first ,court ,by ,joseph ,nash ,frontispiece in colours ,aston ,hall1 ,warwickshire ,by ,a4 ,e4 ,everitt ,plate ix ,aston ,hall1 ,warwickshire1 ,the ,entrance ,hall ,by ,c4 ,j4 ,richardson ,plate ,,li ,audley ,end1 ,essex1 ,the ,staircase ,by ,c4 ,j4 ,richardson ,plate ,,xlii ,audley ,end1 ,essex1 ,portion of ,plaster ,ceiling at ,by ,henry ,shaw ,plate ,,xliii ,barrington ,court1 ,somerset ,by ,c4 ,j4 ,richardson ,plate ,,xli ,benthall ,hall1 ,shropshire ,by ,j4 ,c4 ,bayliss ,plate ,,ii ,blickling ,hall1 ,norfolk1 ,chimney-piece in ,dining-room at ,by ,henry ,shaw ,page #bi 7text7 ,boughton ,malherbe1 ,kent1 ,side of ,drawing-room at ,by ,henry ,shaw ,page #g 7text7 ,burton ,agnes1 ,yorkshire1 ,entrance to ,staircase from the ,hall ,by ,c4 ,j4 ,richardson ,plate ,,xlvi ,charlecote1 ,warwickshire1 ,the ,great ,hall ,by ,j4 ,g4 ,jackson ,plate ,,xviii ,charlton ,house1 ,kent ,by ,j4 ,holland ,plate ,,xv ,charlton ,house1 ,wiltshire ,by ,c4 ,j4 ,richardson ,plate ,,xxxii ,coombe ,abbey1 ,warwickshire1 ,the ,elizabethan ,room ,by ,j4 ,g4 ,jackson ,plate ,,xix ,crewe ,hall1 ,cheshire ,by ,c4 ,j4 ,richardson ,plate ,,liv ,crewe ,hall1 ,cheshire ,by ,c4 ,j4 ,richardson ,plate ,,lv ,crewe ,hall1 ,cheshire1 ,fireplace at ,by ,c4 ,j4 ,richardson ,plate ,,lvi ,cumnor ,place1 ,berkshire1 ,oak ,bedstead at ,by ,c4 ,j4 ,richardson ,plate ,,lii ,dorfold ,hall1 ,cheshire ,by ,c4 ,j4 ,richardson ,plate ,,xxix ,dorfold ,hall1 ,cheshire1 ,the ,great ,chamber ,by ,c4 ,j4 ,richardson ,plate ,,xxx ,east ,barsham ,manor ,house1 ,norfolk ,by ,joseph ,nash ,plate ,,xxii ,east ,sutton ,place1 ,kent1 ,the ,entrance ,hall ,by ,c4 ,j4 ,richardson ,plate ,,xxxix ,enfield1 ,middlesex1 ,interior of an old ,house at ,by ,c4 ,j4 ,richardson ,plate ,,xxxiii ,feering ,house1 ,essex ,by ,f4 ,w4 ,fairholt ,plate ,c ,ford ,house1 ,devonshire ,by ,j4 ,gendall ,plate ,,xiii ,gawsworth ,hall1 ,cheshire ,by ,c4 ,j4 ,richardson ,plate ,,xlvii ,gilling ,castle1 ,yorkshire1 ,side of ,dining-room at ,by ,henry ,shaw ,page #ac 7text7 ,great ,yarmouth1 ,norfolk1 ,end of ,drawing-room of a ,house at ,by ,henry ,shaw ,page #ai 7text7 ,haddon ,hall1 ,derbyshire ,by ,t4 ,allom ,plate ,i ,hall i' the ,wood1 ,lancashire ,by ,j4 ,s4 ,dodd ,plate ,v ,hardwick ,hall1 ,derbyshire ,by ,lake ,price ,plate ,,xxv ,harlaxton ,manor ,house1 ,lincolnshire ,by ,c4 ,j4 ,richardson ,plate ,,xxxviii ,helmsley ,hall1 ,yorkshire ,by ,w4 ,richardson ,plate ,,lx ,hollingbourne ,manor ,house1 ,kent ,by ,c4 ,j4 ,richardson ,plate ,,xxxvi ,horeham ,hall1 ,essex ,by ,f4 ,w4 ,fairholt ,plate ,,xi ,ince ,hall1 ,lancashire ,by ,ewan ,christian ,plate ,,iii ,ipswich1 ,suffolk1 ,old ,house at ,by ,c4 ,j4 ,richardson ,plate ,,xl ,kenilworth ,castle1 ,warwickshire1 ,entrance ,porch to the ,gatehouse ,by ,c4 ,j4 ,richardson ,plate ,,liii ,kirby1 ,northamptonshire1 ,garden ,bridge at ,by ,c4 ,j4 ,richardson ,plate ,,lviii ,kirby ,hall1 ,northamptonshire ,by ,j4 ,d4 ,harding ,plate ,,xiv ,little ,charleton1 ,kent ,by ,c4 ,j4 ,richardson ,plate ,,lvii ,longford ,castle1 ,wiltshire1 ,the ,circular ,dining-room ,by ,c4 ,j4 ,richardson ,plate ,,xlix ,loseley ,house1 ,surrey ,by ,f4 ,w4 ,hulme ,plate ,,xvii ,maidstone1 ,kent1 ,upper ,portion of an old ,house at ,by ,c4 ,j4 ,richardson ,plate ,,xlviii ,montacute1 ,somersetshire1 ,the ,great ,chamber ,by ,c4 ,j4 ,richardson ,plate ,,xxxi ,moreton ,hall1 ,cheshire ,by ,h4 ,l4 ,pratt ,plate ,,xxiii ,nag's ,head ,inn1 ,leicester1 ,porch of the ,by ,c4 ,j4 ,richardson ,plate ,,lix ,nantwich1 ,cheshire1 ,the ,old ,town ,hall ,by ,c4 ,j4 ,richardson ,plate ,,xliv ,oak ,house1 ,west ,bromwich1 ,staffordshire1 ,the ,by ,a4 ,e4 ,everitt ,plate ,,viii ,park ,hall1 ,shropshire ,by ,c4 ,j4 ,richardson ,plate ,,xxvi ,park ,hall1 ,shropshire1 ,the ,drawing-room ,by ,c4 ,j4 ,richardson ,plate ,,xxvii ,park ,hall1 ,shropshire1 ,oak ,staircase at ,by ,c4 ,j4 ,richardson ,plate ,,xxviii ,pitchford ,hall1 ,shropshire ,by ,f4 ,w4 ,hulme ,plate ,,xvi ,st4 ,john's ,college1 ,cambridge1 ,staircase at ,by ,c4 ,j4 ,richardson ,plate ,l ,salwarp ,court1 near ,droitwich1 ,worcestershire ,by ,h4 ,gallon ,plate ,,xii ,sawston ,hall1 ,cambridgeshire ,by ,j4 ,dafforne ,plate ,,iv ,smithells ,hall1 ,lancashire ,by ,j4 ,s4 ,dodd ,plate ,,vi ,south ,petherton1 ,somersetshire1 at ,by ,c4 ,j4 ,richardson ,plate ,,xxxvii ,stockton ,house1 ,wiltshire1 ,small ,bed-chamber ,by ,c4 ,j4 ,richardson ,plate ,,xxxv ,stockton ,house1 ,wiltshire1 ,side of ,drawing-room at ,by ,henry ,shaw ,plate ,,xxxv ,throwley ,hall1 ,staffordshire ,by ,h4 ,l4 ,pratt ,plate ,,xxiv ,turton ,tower1 ,lancashire ,by ,j4 ,s4 ,dodd ,plate ,,vii ,west ,stow ,hall1 ,suffolk ,by ,w4 ,mller ,plate ,,xxi ,white ,hart ,inn1 ,scole1 ,norfolk ,by ,c4 ,j4 ,richardson ,plate ,,xlv ,wroxhall ,abbey1 ,warwickshire ,by ,j4 ,g4 ,jackson ,plate ,,xx ,illustration3 ,overmantel at ,hardwick ,hall1 ,derbyshire ,illustration3 ,,joseph ,,nash ,,hampton ,,court ,,palace1 ,,middlesex-,,entrance ,,gateway ,,to ,,the ,,first ,,court ,,old ,,english ,,mansions4 ,,by ,,alfred ,,yockney4 ,,why do distant objects please8 ,it is a question which has exercised many minds4 ,william ,hazlitt once had the inspiration to write an essay on the subject1 saying1 among other things1 that the reason for our pleasure is that we clothe distant objects with the indistinct and airy colours of fancy4 ,there is truth in this argument when applied to landscape1 and still more so in regard to history and antiquities4 ,we look on the distant past as we do on a beautiful sunset1 conscious only of warm1 glowing reflections4 ,forgetfulness and ignorance play a great part in our estimate of bygone days and things4 ,the invasion of ,britain by ,julius ,cassar and the later ,romans has been the joy of the archaeologist--descendants of those who suffered at the time2 and if we wander through ,hastings ,castle it is the personality of ,william the ,conqueror which inspires us rather than remembrance of the troubles endured by the vanquished4 ,we believe that tribulation1 especially that of other people in a previous generation1 had compensations4 ,in the same way we take pleasure in imagining pictures of the peaceful past1 rich in colour and pleasant in tone4 ,those days in which our fore-fathers used y instead of i and almost invariably ended their words with an e1 seem so picturesque and delightful4 ,how many paintings have been shown at the ,royal ,academy under the title of 8,merrie ,england0 or its equivalent8 ,only ,mr4 ,algernon ,graves knows4 ,the poets have been not less backward than the artists in proclaiming the romance of life in those distant days1 and novelists have led us astray with equal regularity4 ,for1 almost certainly1 we have been led astray4 ,it is inconceivable that the days and nights in the olden times were filled with masques and continual merriment4 ,joviality there was1 of course1 and an absence of those assets of civilization which sometimes trouble us now3 but life was a very serious thing1 and even when there was no war at home or abroad1 there were political and social movements which at times must have made the lives of the people intolerable4 ,so history teaches us4 ,to destroy illusions1 however1 is not the way to earn popularity1 so few but pessimists and the most severe historians look back with a keen eye for defects in our national romances4 ,most of us may take a generous view of the lives of our remote ancestors4 ,let them be supposed to have had the advantage of us in their environment1 occupations1 pastimes1 and sentiments4 ,it is futile to institute comparisons1 and those who made ,england are entitled to the benefit of the doubt4 ,that they did possess certain privileges is beyond question1 and as other blessings have been substituted for the benefit of later generations1 we can afford to look back with a certain amount of envy on the time when traditions were being made and events followed one another with less disturbing frequency than they are doing in the twentieth century4 ,the days of our youth are regarded1 not without reason1 as the period of our greatest happiness4 ,it is often a transparent fiction1 but on the whole there is an element of truth in the idea4 ,for one thing our lives are then before us1 and even if we have no definite course to be followed steadily there is generally the beacon of hope to inspire our progress4 ,in after years1 especially if we have been successful1 the obstacles seem to have been lower and fewer4 ,we may imagine1 therefore1 that the relentless advance of time is regarded with equal anxiety by inanimate things4 ,if the stones1 bricks1 and timbers of ancient secular edifices could speak they would wish us to believe1 as human beings do1 that their early days were the best4 ,perhaps they would be right in this supposition1 for buildings when first erected serve the purpose for which they are required and generally satisfy those who own and live in them4 ,no doubt perfection was not attained in regard to the full utilisation of the site1 the accommodation provided1 and so forth1 in the past any more than in the present1 but ancient buildings would receive a certain measure of praise on completion4 ,so it would be natural that the structure itself1 given the power to absorb impressions1 would look back to its earliest and most useful existence with the same feeling of regret experienced by most people in maturity or old age4 ,if it were an ,elizabethan mansion1 the principal facade would recall with pride the arrival on horseback or otherwise of those notable guests who1 dim years ago1 conferred splendour and everlasting honour on the establishment1 each projecting bay meanwhile looking down with mingled wonder and disparagement on the apparently lifeless motor carriage now bringing visitors to its time-worn entrance4 ,the interior of the ancient mansion would be inclined no less than the exterior to look upon modern beings as usurpers and unheroic characters1 compared with those who once walked through the stately halls and corridors4 ,it would be interesting indeed if we could interpret the feelings of these monuments of the past4 ,such a chronicle would be as full of pathos as any history of a noble race or family1 once powerful and magnificent1 now crest-fallen or defunct4 ,for building materials are subject to stranger vicissitudes than those who cause them to be manipulated4 ,even if they have only decay to contend with it is a constant struggle against their eventual fate1 but as often as not they have to face destruction sooner or later4 ,sometimes the stones which have been used in an historic building are forced to do service again and again until their record and significance are lost4 ,occasionally we have a clue to the past1 as in the case of 8,nonsuch10 the beautiful palace begun by ,henry ,,viii1 and once an attraction on the road to ,epsom4 ,it is supposed that when this building was pulled down1 to the perpetual disgrace of the first ,duchess of ,cleveland1 some of the materials were used in the construction of 8,durdans10 the prototype of the existing ,surrey residence of ,lord ,rosebery4 ,the fate of the ,holbein ,gateway1 which once adorned ,whitehall1 was to be dismembered by order of the hero of ,culloden1 the idea being that it should be re-erected in the ,great ,park at ,windsor4 ,this was never done1 though ,thomas ,sandby drew up a scheme at the time2 and with the exception of a few fragments1 this most interesting relic of ,tudor architecture only survives in illustrations and models4 ,a better destiny was in store for a later structure which outlived the esteem of the authorities1 namely ,temple ,bar4 ,that this work by ,sir ,christopher ,wren should have been removed from ,fleet ,street was essential1 no doubt1 through the press of traffic which had arisen2 but it is astonishing that the stones should have been permitted to lie about in the ,farringdon ,road for some years until rescued and re-erected at ,theobald's ,park by ,sir ,henry ,meux4 ,the ,city ,corporation struck a medal to commemorate the demolition in #ahgh1 but it may be hoped that some day another one may be issued simultaneously with the restoration to ,london of this unique relic4 ,such examples of vandalism could be multiplied indefinitely2 and when buildings destroyed by other means1 such as fire1 are added to the list1 it is a matter for congratulation that so many remains of architectural design and craftsmanship are available for study in something approaching their original state4 ,two main features contribute to the chequered existence of historic buildings4 ,the first is restoration1 which includes alterations and additions1 and the second is decay1 the variety which renders a house uninhabitable as well as obsolete4 ,in the former case the old work has often been utterly spoiled by drastic measures of reconstruction or by good-intentioned but fatal efforts to repair and beautify3 in the latter case the building gradually goes to pieces until it becomes a ruin1 splendid still perhaps in its suggestion of other days1 but becoming year by year a monument needing continual attention if it is to survive4 ,we are then immersed in the depths of antiquarian lore1 and the problems of archaeology which arise are only equalled by the diversity of methods brought forward for keeping the object intact4 ,conservation is a science as well as an art1 but even so it is difficult to obtain unanimity of opinion from experts when work is contemplated4 ,the case of ,stonehenge may be mentioned1 although it is beyond our field4 ,century by century this imposing group of stones has suffered1 and different generations of engineers as well as architects1 individually or as societies1 have made suggestions for its maintenance and partial reconstruction4 ,yet in spite of great care it is always in jeopardy1 partly because it is private property4 ,at the time of writing this relic of ,druid architecture is for sale1 and if it could be made the national monument it deserves to be1 special measures could be taken for its preservation4 ,another instance of disagreement between those experienced in restoration occurred when ,mr4 ,f4 ,baines1 acting for the ,office of ,works1 proposed to strengthen the fourteenth-century hammer-beam roof of ,westminster ,hall with the aid of steel as well as oak 7#aiad74 ,this modern method of preservation was duly adopted1 and it will be for the experts in the years to come to praise or blame the restorers and the craftsmen engaged in the work at the present time4 ,with the institution of new legislative machinery it may be hoped that there will be no more instances of misapplied enterprise in removing objects of historic interest from their original positions4 ,the case of ,tattershall ,castle1 since presented to the nation by ,lord ,curzon1 is fresh in the memory of all4 ,the iniquity of taking away the fine sculptured stone fireplaces1 now happily restored to their positions1 has been matched time after time by similar acts1 and it was not without much evidence of artistic crime that the ,government rightly took action4 ,too much sentiment has overflowed1 perhaps1 in certain cases of alleged vandalism4 ,owners1 including public bodies1 have been neglectful of their possessions1 and only when someone else has speculated on the commercial value1 have the objects been appreciated for their artistic interest4 ,it seems strange1 for example1 that some treasures of craftsmanship and antiquity from ,westminster ,abbey1 ,winchester ,cathedral1 and other sacred places should have been available for erection elsewhere at the call of the highest bidder4 ,innumerable relics of domestic architecture and decoration have been taken from ,english homes for transportation4 ,anyone who wished to do so could make out a list of indignities which would cause almost as much chagrin as the record1 published recently by the ,national ,gallery ,committee1 of important pictures sold out of the ,united ,kingdom in modern times4 ,the sale of a ,gainsborough might be bracketed with the exportation of the ,elizabethan panelling from ,rotherwas1 ,herefordshire4 ,in all such cases1 however1 the word desecration must not be used1 for it often happens that without the intervention of those who understand the importance of these things1 the decorative details of many houses would have ceased to exist or would have been obscured4 ,a generation which could paint or whitewash the fine panelling it had inherited deserves and receives nothing but censure4 ,such acts of depreciation were once common1 however1 and it required a new order of intelligence to cause the removal of blemishes which did great injustice to the original work and really deprived the owners of desirable surroundings4 ,in private houses this unappreciative attitude towards the past was evidence of personal taste gone wrong and might be attributed to narrow influences4 ,but that the germ of destruction should appear in the most hallowed places is more remarkable4 ,occasionally there is compensation for such curious actions1 as in the case of ,hampton ,court4 ,about a year ago1 during the redecoration of a suite of apartments1 some fine oak panelling was discovered behind the battening and papered canvas1 together with two stone fireplaces and other features which had been hidden for many years4 ,these had been ,wolsey's private rooms1 and their restoration to their original state provided a remarkable contribution to our imaginative picture of the great ,cardinal4 ,a visit to the ,victoria and ,albert ,museum will reveal evidence of the modern regard for details once completing and adorning buildings which have been demolished or have seen better days4 ,the front of ,sir ,paul ,pindar's house1 transferred from ,bishopsgate to the ,museum1 is of epic grandeur2 while the inlaid oak panelling from ,sizergh ,castle1 ,westmoreland1 with the bedstead to match1 reminds us in an exceptional way of sixteenth-century accomplishments4 ,it is fortunate that many fine examples of exterior and interior workmanship have escaped the perils to which they have been exposed since the days of their pristine elegance1 and are now preserved in comparative safety4 ,though there is little reason to doubt that some really desirable objects have always commanded a certain degree of respect1 sufficient care has not been exercised in many notable cases4 ,the history of the housebreakers' trade is full of artistic tragedies1 and the awakening of public interest might have come sooner for the benefit of the national reputation4 ,exactly when the movement began for the full appreciation of such works of art and industry cannot be stated4 ,the influence of the ,society of ,antiquaries1 dating from the eighteenth century1 has been considerable1 and other bodies have worked quietly also for the purpose of recording the existence of objects worthy of attention4 ,with such efforts of tabulation and description the good work generally ceased1 and the worship of the things themselves being confined to a limited circle the warmth of appreciation was seldom of sufficient power to ripen the fruit of the tree of knowledge4 ,it was the plucking of the fruit which was responsible for a better appreciation of its quality4 ,when astute business men perceived that there was money in the more or less abandoned relics of the past1 and proceeded to find new owners for them1 the ,british public discovered that the derelict objects were rare and beautiful4 ,the work was not always artistic in the accepted sense1 but it possessed character1 individuality1 and charm4 ,it was not machine-made or finished with the precision of a later taste in handiwork1 but it was good and ,english to the core4 ,museum directors1 connoisseurs1 architects1 and craftsmen like ,william ,morris1 had their share in the enlightenment of the people to the real significance of the work of men's hands1 but the mainspring of the movement for preservation was the competition of professional antiquity hunters4 ,once the best attributes of old house fittings had been pointed out by various means1 but chiefly in the language of value sterling1 the future of relics existing in situ seemed brighter4 ,eyes were turned jealously to the equipments in old houses1 and a new race of students arose to safeguard national and more or less private treasures4 ,all this has happened in the last half of the nineteenth century4 ,there remains much to be done1 however1 before the real lessons of the past are impressed upon the public4 ,while certain acts of vandalism have been committed by dealers able to turn their knowledge to account1 considerable tolerance must be exercised on their behalf4 ,in the first place they demonstrated the importance which should be attached to many objects of antiquity1 and in the second place the business men put their weight into the scale against destruction4 ,in the most practical way they prevented examples of craftsmanship from sharing the fate of firewood and rubble4 ,they have kept things of singular merit intact when extinction was probable1 and if sometimes they have exaggerated the importance of work which is merely old and not really interesting1 their services in educating public opinion more than counterbalance their transgressions4 ,even the latter may be condoned to some extent1 for through them the fame of ,english craftsmanship has been spread far and wide1 developing a desire among students abroad to visit this country and to see in all their glory the priceless works of architecture and decoration remaining supreme in spite of the attacks by man1 time1 fire1 and vandals4 ,when ,goldsmith wrote that he loved 8everything that's old--old friends1 old times1 old manners1 old books1 old wine10 he unaccountably forgot to mention old houses4 ,it may be assumed that the author of 8,the ,deserted ,village0 included among his delights the actual haunts of his old friends1 suggestive of still older times and manners4 ,looking back on the eighteenth century1 when ,johnson was uttering his sonorous observations1 and ,reynolds1 ,gainsborough1 and ,romney were immortalising the illustrious people of the day1 we are envious of the opportunities presented to ,goldsmith and his contemporaries to study and admire the monuments of the preceding centuries in something approaching perfection4 ,at that time the majority of buildings grouped under the heading of ,old ,english ,mansions were unspoiled by decay and environment4 ,they were just mellow and satisfying in every respect4 ,some of them1 of course1 had suffered in the ,civil ,war1 and bore witness then as now to their unsuitability as places of defence4 ,but on the whole it was ,tudor and ,jacobean architecture without alloy4 ,since the eighteenth century a gradual change has come over most of the buildings1 until at the present time but few of them are in anything like a habitable state1 though they may still be studied for what they reveal of the past4 ,some stately mansions like ,hatfield ,house1 ,holland ,house1 ,knole1 ,penshurst1 ,charlton ,house1 ,kent 7,plate ,,xv71 and ,moreton ,illustration3 ,,henry ,,shaw ,,side ,,of ,,drawing-,,room ,,at ,,boughton ,,malherbe1 ,,kent ,old ,hall 7,plate ,,xxiii71 have descended from father to son or through allied families1 and the inheritance has been maintained1 though possibly the structures have been reduced in size or otherwise altered4 ,in some cases the buildings have passed into the hands of strangers willing and able to keep them in repair without modernising them out of recognition4 ,others1 however1 have ceased to be anything more than reminders of bygone days1 and in various stages of preservation they appeal more or less to students and tourists4 ,in some cases it requires abundant imagination to reconstruct the scenes of which they were the central features4 ,it is easy enough with a few buildings1 but we are confronted often by some structures which have become almost de-naturalised under the pressure of urban expansion4 ,they remain as oases in the desert of modern bricks and mortar1 dignified still in spite of the affronts of unsympathetic neighbours2 but their beauty has faded and no amount of sentiment can gloss over their obvious defects1 robbed of their original uses and maimed by their present purposes4 ,the parks which occasionally remain around these old buildings save us sometimes from intensified regret4 ,among the most interesting relics of antiquity still retaining an appearance of prosperity are many of the hostelries scattered throughout the country4 ,it gives everyone genuine pleasure to visit the establishments which share with the local church the architectural honours of the village or town1 even though1 as in the case of a building within easy reach of ,london1 the sign of the inn and the date #afjd are supplemented by the magic word 8,garage40 ,this is typical of many such places for rest and refreshment which are renewing their youth through the revival in travel by road4 ,one may drive beneath archways to the extensive courtyards where proprietors have welcomed the arrival of kings1 queens1 and courtiers in the olden times1 and but for the total difference in costume and the means of conveyance there is very little change in the scene or in the accommodation provided4 ,it often happens that such old places have been devoted originally to domestic purposes1 as in the case of the ,nag's ,head ,inn1 ,leicester 7,plate ,,lix71 once a private house1 and ,feering ,house1 ,essex 7,plate ,x71 which1 at the time ,fairholt visited it to reconstruct its past1 was far from presenting the scene of family happiness the artist so quaintly imagined4 ,the somewhat florid structure which spanned the highway and included the sign of the ,white ,hart ,inn at ,scole1 ,norfolk 7,plate ,,xlv71 was removed before the nineteenth century1 and ,richardson relied for his drawing on an earlier picture4 ,similar1 if not quite so ornate structures are still to be seen in many places4 ,historians never fail to relate the tradition that at the ,white ,hart ,inn1 besides this wonderful carved wood structure1 was a round bed large enough to hold twenty couples1 accommodation which dims the importance attached to the great bed at ,ware1 that ,tudor or earlier piece or elaborate carpentry with a capacity for a mere dozen people4 ,apart from such freak productions the bedsteads of olden times were usually of ample proportions and were often works of art4 ,beautifully designed1 carved1 and inlaid1 they were in keeping with the other possessions of the fortunate owners4 ,the example shown from ,cumnor ,place1 ,berkshire 7,plate ,,lii71 with its massive pillars and roof1 is a reminder of the great and perhaps excessive care bestowed on the manufacture of such pieces of furniture4 ,distant history as represented by architecture is a subject which has engaged the attention of all students of national development1 and to their extensive researches the public is deeply indebted4 ,architects and archaeologists also have pieced together the evidence available and have reconstructed the past with great thoroughness4 ,the mode of life at different periods has been revealed by means of plans and other drawings1 often prepared with infinite labour4 ,by such illustrations and by the records which have been transcribed it is possible to visualize the appearance of the country and its inhabitants from the beginning4 ,in this supremely interesting occupation we are helped by imagination and1 moreover1 we have the advantage of the imaginative efforts of others better qualified to clothe the framework of the story4 ,to ,sir ,walter ,scott the highest tribute must be paid1 for though his visions and word-pictures cannot be relied upon always for minute accuracy1 he caught the spirit of the past and with wonderful insight restored it in vivid language4 ,his heart was in the work of making the past live again1 and he succeeded in giving verisimilitude to the scenes he described4 ,illustrations abound of the buildings of ,elizabethan and ,jacobean date1 from the measured drawings which owe their origin to prize competitions among students1 to the elaborate pictorial reconstructions which sometimes astonish us by their wealth of detail and fanciful accessories4 ,painters in ,victorian days attempted with varying success to interpret the past1 generally introducing architectural backgrounds as settings for the dramatis person4 ,one of the chief artists of the period to attain success in this direction was ,george ,cattermole 7#ahjj-ahfh71 who in such pictures as ,the ,hunting ,party and ,old ,english ,hospitality proved himself to be well equipped with the necessary imagination and knowledge4 ,he successfully illustrated ,scott1 and1 indeed1 founded his fame on his drawings inspired by the great author's romances4 ,one of ,cattermole's most distinguished contemporaries was ,joseph ,nash 7#ahjh-ahgh71 in whose work the figures as a rule are subordinate to the architecture4 ,this was to be expected from one who had been trained in the office of an architect1 namely1 the elder ,pugin4 ,yet ,nash1 while treating buildings with the respect due to them1 did not err on the side of technical hardness4 ,he made the beauties of architecture intelligible to the public1 contriving also to appeal to the professional mind4 ,his object was to produce essentially picturesque interpretations1 to make a set of views of the mansions of ,england from a new and attractive point of view4 ,to use his own words1 he tried to make them interesting1 8not as many of them now appear1 gloomy1 desolate and neglected1 but furnished with the rude comfort of early times or exhibiting the more splendid luxury and elegant hospitality of later periods2 in short1 the stately homes of ,england glowing with the genial warmth of their firesides and enlivened with the presence of their inmates and guests1 enjoying the recreations and pastimes or celebrating the festivals of our ancestors4 ,the artist has endeavoured to place himself in the position of a visitor to these ancient edifices1 whose fancy peoples the deserted halls--stripped of all movable ornaments and looking damp and cheerless--with the family and household of the old ,english gentleman surrounded by everyday comforts1 sharing the more rare and bounteous hospitalities offered to the guests or partaking of the boisterous merriment of ,christmas gambols40 ,nash deserted the practice of architecture to good purpose1 for he produced the standard books illustrating the mansions of the olden times existing in his day1 and he made a greater name probably than he would have done had he stuck to the medium of bricks and mortar4 ,the influence of his work was good1 and as a transcriber of architecture for popular appreciation he occupies a similar place to that attained by the ,lambs in their prose interpretations of ,shakespeare4 ,both ,cattermole and ,nash were members of the 8,old0 ,water ,colour ,society4 ,they established traditions which endured and which are still to be detected in the exhibitions at the gallery in ,pall ,mall ,east4 ,among other early ,victorians who won fame by their representations of domestic architecture and accessories was ,c4 ,j4 ,richardson 7#ahjf-ahga71 who was articled to ,sir ,john ,soane1 and remained an architect1 but devoted himself mainly to his task of illustrating the great work of the past4 ,his drawings are more precise and laboured than those of ,nash1 but they are excellent records and enable us to realise the beauties of many buildings and details now destroyed or scattered4 ,thomas ,allom 7#ahjd-ahgb71 also a practising architect1 produced some exceptionally good pictorial work1 his ,haddon ,hall 7,plate ,i7 being typical4 ,ewan ,christian 7#ahad-ahie71 the architect of a large number of buildings1 including the ,national ,portrait ,gallery1 was a recipient of the ,royal ,gold ,medal1 and is better known by his building work than otherwise2 but in his earlier days he executed many drawings of popular interest1 such as ,ince ,hall 7,plate ,,iii74 ,henry ,shaw 7#ahjj-ahgc7 is mainly known to fame by his architectural illustrations1 many of which are included in this book4 ,f4 ,w4 ,fairholt 7#ahad-ahff7 combined the life of author and artist with conspicuous success1 his ,horeham ,hall 7,plate ,,xi7 showing evidence of his deep love of pageantry as well as his architectural sympathies4 ,a ,belgian artist who lived and worked in ,london1 ,louis ,haghe 7#ahjf-ahhe7 established a considerable reputation for his able interpretations of old ,flemish architecture1 chiefly interiors4 ,he was a most accomplished draughtsman1 and1 like other artists of the period1 made great use of lithography as a medium4 ,though the drawings by ,nash and other artists with similar ambitions come within the category of made-up pictures--that is to say1 were inspired by the past rather than the present--they were often of considerable charm and bore few traces of being rather second-hand in design4 ,to achieve success with a composition relying for its incidents and accessories on scenes enacted1 or supposed to have been enacted1 two centuries or more previously requires gifts of no mean order4 ,not only must there be a proper understanding of the sentiments of the times1 but the people introduced must be dressed appropriately and must take their part in the proceedings naturally4 ,nash1 of course1 studied his backgrounds on the spot1 and chose the point of view which would be most picturesque4 ,for him it was then a comparatively simple matter to imagine what scenes had taken place there long years before4 ,he saw with his mind's eye and recorded his impressions with due regard to historical probability and artistic requirements4 ,posterity owes much to the painstaking and capable artists who toured the country in search of likely material and who published the results of their labours in such a permanently attractive way4 ,without such drawings nothing would exist to remind us of some of the most interesting examples of craftsmanship produced in the preceding centuries4 ,the illustrations are useful also for comparison with the modern views of buildings by means of photography1 and it is curious to notice how much alike are some of the records4 ,one often suspects photographers of taking up the same point of view as the less speedy draughtsmen of nearly a hundred years ago1 not because one vantage-ground inevitably suggests itself1 but because artists of the camera are inclined to follow the lead of their predecessors4 ,this plagiarism may be forgiven1 however1 for it enables us to see exactly what changes have taken place in the interval of years4 ,our thanks are due not only to those who illustrated but to those who published the drawings which are so valuable for reference1 with the appropriate comments which accompanied them4 ,the authors made light of difficult travel1 and with much evident pleasure elaborated in prose the now hackneyed lines of ,mrs4 ,hemans3 8,the ,stately ,homes of ,england1 ,how beautiful they stand ,amidst their tall ancestral trees ,o'er all the pleasant land40 ,illustration3 ,,henry ,,shaw ,,side ,,of ,,dining-,,room ,,at ,,gilling ,,castle1 ,,yorkshire ,happy should we be if we could give similar credit to those architects and craftsmen whose work was the best of its period but whose identities are unknown4 ,they provided sources of pleasure and instruction1 not only by the results of their skill but by inspiring artists of later generations to interpret their ideals and popularise their creations4 ,architects of modern times and students of all descriptions have searched in vain for information which would reveal the authorship of certain executed designs4 ,even when a clue has been obtained it has led to nothing definite1 and the credit for much of the greatest building work is given to the client who paid for it1 a thing not unknown in modern times4 ,we are told that 8,nonsuch0 was built by ,king ,henry ,,viii1 ,hampton ,court by ,cardinal ,wolsey1 and other venerable places were due1 apparently1 to the architectural genius of earls1 knights1 esquires1 and other people4 ,perhaps these patrons did exercise considerable influence in the erection of the houses in which they intended to live1 and in some cases it is likely that they superintended the work of quarrying the stone1 felling the timber1 and obtaining other materials4 ,the anonymity of the real architect1 as we should call him1 was preserved1 and1 as in the case of the ,gothic cathedrals1 attributed to one or another bishop1 we must be content to admire the work without knowing for certain to whom should be given the credit4 ,the master builders and carpenters of the day succeeded as admirably in disguising their names as in doing their work1 and it was not until the middle of the sixteenth century that the veil of obscurity was lifted4 ,when in #aefc ,john ,shute published his 8,first and ,chief ,groundes of ,architecture0 he described himself as 8,paynter and ,archytecte10 but little is known of him in either capacity and his fame rests mainly on the publication of this excellent book on the ,orders4 ,stephen ,harrison1 the designer of some fine triumphal arches for erection in ,london in #afjc1 8in honor of the ,high and mighty prince ,james1 ,king of ,england10 described himself as 8,joyner and ,architect40 ,the latter word was evidently coming into use in ,england as a supplementary qualification4 ,in ,june #aeff ,queen ,elizabeth laid the foundation-stone of the first ,royal ,exchange in ,london1 known as 8,britain's ,burse10 and the name of the architect employed by ,sir ,thomas ,gresham was one ,henry de ,pas or ,paschen1 a native of ,antwerp4 ,it was not until #aegj that an ,english architect transmitted his name to posterity as the author of a notable example of domestic architecture4 ,in the ,soane ,museum there is a plan of ,kirby ,hall 7,plate ,,xiv7 on which ,john ,thorpe wrote the words 8,whereof ,i layd the first stone #aegj02 and though ,thorpe's career and attainments have been the subject of acute discussion1 he may be regarded as one of the first to emerge from obscurity4 ,afterwards came the ,smithsons1 father and son1 ,inigo ,jones1 ,webb1 ,wren1 and a succession of well-known architects4 ,in addition to the names or architects arising from the depths of history there are other reminders of identity4 ,on the exterior of ,moreton ,old ,hall 7,plate ,,xxiii7is an inscription referring to ,william ,moreton1 ,,mdlix1 and one1 8,rycharde ,dale1 ,carpeder1 made thies windous by the ,grac of ,god40 ,on the building known some years ago as 8,nantwich ,old ,town ,hall0 7,plate ,,xliv7 were the words 8,richard ,dale1 ,free-,mason1 was the master carpenter in makinge this buyldinge1 ,anno ,domini #afaa02 and in the ,victoria and ,albert ,museum is a beam of carved elm dated #afch with the words1 8,i was set upp right and even per ,john ,sommersett40 ,such examples only whet our appetite for still earlier records of native workers4 ,they existed in great numbers in spite of the fact that ,england in the sixteenth century was the home of many ,italian artists who influenced the work of the day4 ,torrigiano arrived about #aeaj1 and he found ample patronage1 like many of his fellow-countrymen4 ,while it would be very instructive to know the names of those who designed and executed the ,tudor buildings1 it is doubtful if the facts ever will be established1 and we must be content to admire without knowing to whom the credit should be given4 ,our appreciation is sincere1 and we find unlimited interest in the remains of another industrial age4 ,the question of authorship1 however1 though giving us opportunity for attribution1 is not so important as the value of the buildings themselves4 ,the problems of design and construction1 the new planning1 the means of decoration and equipment1 such were the things which occupied the attention of our ancestors and which may now be traced and compared with subsequent architectural achievements4 ,in ,tudor times a domestic revolution was in progress4 ,the accessories of life1 possessed1 if not enjoyed1 by those who had gone before1 were being thoroughly overhauled and were often condemned in the light of altered conditions4 ,the barrack life of feudal and medival times had been changed gradually and the accommodation had become more private4 ,residential possibilities began to be conceived4 ,comforts suggested themselves and were adopted in the new houses which arose all over the country4 ,building became a passion with the wealthy1 and with the demand for ideas there arose a supply of men desirous of devoting their lives to the building and embellishment of houses1 an ambition of which the fruits may still be enjoyed to some extent4 ,subdivision was one of the guiding principles in the evolution of domestic architecture4 ,time was when the barest necessities in the way of architecture sufficed for the accommodation of the chieftains and their servants1 armed or otherwise4 ,the main requirement was solidity4 ,everyone then shared the fortified castles1 which were surrounded in many cases by moats1 and lived under the most primitive conditions4 ,in those days apparently the only way to find solitude in a home was to get committed to the dungeons1 and there were drawbacks to those retreats4 ,gradually more privacy was obtained by the lord and his family4 ,the large and lofty hall1 with dais and minstrel gallery1 continued to dominate the plan and remained the most serviceable apartment1 common to all2 but smaller rooms began to be included in new buildings or additions were made to the old places4 ,the castles1 though remaining primarily as places of defence and protection from the weather1 began to be used for occupation also1 and new elements entered into their design and construction4 ,the keep developed1 and eventually the domestic requirements of the establishment displaced the other considerations4 ,when ,henry ,,viii came to the throne1 richer than most kings or ,england had been and with unlimited resourcefulness1 the time had come for the development of the domestic buildings of the country in a way hitherto impossible4 ,throughout the reigns of the ,tudor sovereigns there was continuous activity in this direction1 as well as in other departments of the national life1 and the evidence which remains proves what an upheaval of thought took place4 ,hitherto the most important1 if not the main1 attribute of a residence was its invulnerable character4 ,the walls were as wide as many rooms at the present day1 and this solid mass of stone or brick was pierced by apertures1 varying in size but generally only large enough to admit light without providing an entrance for an enemy4 ,at the foot of the building the holes were especially small4 ,if the windows were glazed at all it was with horn as often as not1 though glass was easily procurable4 ,fireplaces had been features of the interiors for many years before ,tudor times1 and they were often supplemented by open hearths in the middle of the large hall1 the smoke escaping through a louvre in the roof4 ,an example of this effective mode of warming is still to be seen at ,penshurst4 ,the somewhat prison-like characteristics of these early buildings became obsolete through the advent of more peaceful occupations and by the invention of weapons against which stone and brick could not stand4 ,the impetus given to more rational building gathered in force and1 inspired by a monarch himself enterprising in such matters1 the results were to be seen everywhere4 ,the lands and properties which changed hands at the ,suppression of the ,monasteries brought wealth to many people1 who immediately began to re-house themselves on a scale in keeping with their ample resources4 ,in these buildings of ,henry's time there remained an inclination towards strength1 and the small window openings only disappeared slowly4 ,there was evidently a certain reluctance in giving up the appearance of a fortified dwelling-place1 even though the building itself would be practically useless to defend the inmates against new means of attack4 ,by the time of ,elizabeth1 however1 this lingering aversion to the purely domestic building had vanished1 and while the exteriors began to be more ornamental the interiors were arranged with increasing regard for comfort and convenience4 ,the ,hall remained as the chief feature of the ground floor1 though by this time some families had abandoned the practice of taking their meals with their retainers4 ,the ,long ,gallery came into existence as the principal room upstairs1 being serviceable for recreation and entertainment4 ,its bay windows1 when not too numerous1 contributed to the internal and external interest of the building4 ,wide and majestic wooden staircases came into use and the spaciousness of the period was expressed admirably4 ,gardens1 laid out with architectural forethought1 began to form component parts of houses1 and an air of opulence and peace pervaded the country1 in spite of the fact that war-like preparations were in progress4 ,the expansion of ,england was reflected in the architecture and decorations of the period1 and under the influence of wealth1 prosperity1 and inclination new ideas were generated4 ,the transition from medival life was complete4 ,after the defeat of the ,invincible ,armada the work of building went on with undiminished force2 and though the ,palladian era was beginning1 destroying the simplicity and charm of the earlier period1 the houses of the time were far from being destitute of attraction and significance4 ,tudor architecture appeals to us for many reasons1 and not least because of its human associations4 ,in the presence of such a building as ,hampton ,court we are reminded of various periods of architecture and different generations of notable people4 ,the names occur to us of many royal personages who lived there4 ,we think of ,wren ending his days near to the structure with which he was so intimately associated4 ,but it is the memory of ,wolsey which takes the foremost place in our thoughts4 ,everyone knows the pretty story of the ,cardinal's diplomacy in presenting the building to the monarch who so much appreciated it before and after it came into his possession4 ,its history1 however1 began some years before that1 and it is to the events of those early days that we are specially attracted4 ,we imagine ,cardinal ,wolsey securing the position of ,lord ,chancellor and setting builders and craftsmen to work on a suitable abode with total disregard to cost4 ,arrangements had to be made in the scheme for a great household and for the hundreds of guests and their retainers who in due course went to the noble residence on the banks of the ,upper ,thames4 ,wolsey's hospitality monopolised the services or an army of dependents and the planning of the place was tested severely4 ,to understand the requirements of ,hampton ,court in those days we may turn to the life of ,wolsey written by ,george ,cavendish in the sixteenth century4 ,there we may read of the historic entertainment provided for the ambassadors from ,france4 ,the ,cardinal called for the principal officers of his house1 such as his steward1 comptroller1 and the clerks of his kitchen1 ordering them to prepare the best banquet that ,illustration3 ,,henry ,,shaw ,,end ,,of ,,drawing-,,room ,,of ,a ,,house ,,at ,,great ,,yarmouth1 ,,norfolk could be provided by money or friendship4 ,the preliminaries were carried out on a magnificent scale4 8,the yeomen and grooms of the wardrobes were busied in hanging of the chambers with costly hangings1 and furnishing the same with beds of silk1 and other furniture apt for the same in every degree4 ,then the carpenters1 the joiners1 the masons1 the painters1 and all other artificers necessary to glorify the house and feast were set to work4 ,there was carriage and re-carriage of plate1 stuff1 and other rich implements2 so that there was nothing lacking or to be imagined or devised for the purpose4 ,there were also fourteen score beds provided and furnished with all manner of furniture to them belonging40 ,when the feast began the arrangements were perfect and we are able to imagine the scene4 8,anon came up the second course1 with so many dishes1 subtleties1 and curious devices1 which were above a hundred in number1 of so goodly proportion and costly that ,i suppose the ,frenchmen never saw the like4 ,the wonder was no less than it was worthy in deed4 ,there were castles with images in the same3 ,paul's ,church and steeple1 in proportion for the quantity as well counterfeited as the painter should have painted it upon a cloth or wall4 ,there were beasts1 birds1 fowls of divers kinds1 and personages1 most lively made and counterfeit in dishes1 some fighting as it were with swords1 some with guns and crossbows1 some vaulting and leaping1 some dancing with ladies1 some in complete harness1 jousting with spears and with many more devices than ,i am able with my wit to describe4 ,among all1 one ,i noted3 there was a chess board subtilely made of spiced plate1 with men to the same40 ,cavendish goes on to mention the arrangements made for the guests at night1 and the whole account reads like an ,arabian ,nights' ,entertainment4 ,although the above festivities at ,hampton ,court were or exceptional grandeur1 they were typical of the kind common throughout the land in ,tudor times4 ,the fine houses having been built1 it was only natural that they should be filled with guests who would contribute to the gaieties of the place4 ,the scenes of pomp and splendour which were enacted at many of the mansions illustrated in this book were duly recorded1 and royal personages as often as not appeared in the pageants4 ,it requires little effort of imagination to restore the glories of the past and to people these ancient buildings with those for whose glorification they were erected4 ,the majority of the mansions themselves are but shadows of their former selves1 but the illustrations by which such artists as ,nash1 ,richardson1 and ,fairholt recorded their beauties enable us to conjure up the ghosts of the departed ,englishmen who gave life to the structures4 ,the remains of the buildings themselves are a heritage of which we should be and are proud1 and no efforts should be spared to keep them from decay or destruction1 whatever the difficulties4 ,illustrations made in different periods are useful and entertaining1 but they are nothing compared with the pleasure given by the mansions themselves4 ,it would be a calamity indeed if these objects of antiquity were to be swept away4 ,when ,crewe ,hall 7illustrated here in ,plates ,,liv1 ,,lv1 and ,,lvi7 was burned to the ground in #ahff1 the late ,s4 ,c4 ,hall recorded that since he had published his 8,baronial ,halls and ,picturesque ,edifices of ,england0 no fewer than thirteen of those he had described had been destroyed by fire4 ,without attempting to complete these statistics it is certain that the list could be considerably extended1 and as time goes on other accidents will rob the country of many more of its architectural attractions4 ,the romance which is enshrined in these old buildings will never be forgotten1 however1 for the story of each structure has been told many times1 and events of the day often cause us to refresh our memories4 ,in #aiac1 for instance1 the famous old ,kirby ,hall1 ,northamptonshire 7,plate ,,xiv71 came into the market1 as ,quenby ,hall1 ,leicestershire1 had done also2 and we were reminded then of their long histories4 ,a nobleman sells one of his pictures for a large sum1 and our thoughts immediately revert to the home which the painting has graced1 perhaps for centuries4 ,then there are all kinds of incidents connected with the descendants of notable families1 which bring forward once again the architectural background of social life4 ,even though in some cases these relics of the past have been razed to the ground1 history has been made in them which can never be obliterated4 ,it is the personal and sentimental interest which helps us to appreciate the work of the men who built or decorated the houses where family histories began4 ,these architects1 master-masons1 and other workers skilled in invention and execution contributed in the most permanent and satisfying way to the distinction gained by their employers4 ,if they themselves are unknown to fame1 or are forgotten by all but students of building1 their genius is imperishable4 ,later generations of architects and craftsmen have supplied the best of all epitaphs1 that of emulation4 ,whether ,john ,thorpe built this or that house1 whether ,inigo ,jones did or did not design portions of famous buildings1 the questions afford pleasant exercises in deduction and attribution4 ,but the sum total of achievement is the main thing to be considered4 ,so far as domestic architecture is concerned the lessons of the past have been put to good use in ,england4 ,one of the most ancient buildings illustrated in the present volume is ,haddon ,hall 7,plate ,i71 which dates from ,plantagenet times1 or earlier4 ,alterations and additions were made subsequently1 and the building affords an almost unrivalled opportunity to study the ideals of various periods4 ,it is of the castellated type and was evidently built for defence1 but the later work is of equal importance4 ,sir ,george ,vernon1 known as the 8,king of the ,peak0 on account of his magnificent style of living1 was responsible for considerable additions in the sixteenth century1 while the ,long ,gallery and parts of the garden are to the credit of his daughter1 ,dorothy ,vernon1 who married ,sir ,john ,manners1 second son of the first ,earl of ,rutland4 ,this old house1 situated so picturesquely on sloping ground1 is associated with many legends1 including the supposed courtship and elopement of the celebrated ,dorothy1 a pleasant fiction which is too generally believed to be exposed4 ,haddon would lose some of its attractions if the 8,walk10 the 8,door10 and other features associated with the popular heiress were removed1 but even without them the building would be of romantic interest4 ,mr4 ,henry ,james1 in one of his refreshing essays1 has recognised 8the inevitability of a ,dorothy ,vernon and a ,lord ,john10 which sums up the prevailing sentiment of the place4 ,it seems made for an elopement1 and if in reality one did not take place1 then it was the fault of the people and not of the house1 which lent itself so admirably to such a purpose4 ,cattcrmole1 like many other artists1 loved to paint here and to conjure up delightful visions4 ,haddon was for a long time a favourite place or residence of the ,earls of ,rutland1 but towards the end of the eighteenth century much of the movable furniture was taken to ,belvoir4 ,since the days of general travel the tread of visitors1 often on their way to ,chatsworth1 has been incessant1 and if the chief interest has been popular and sentimental rather than architectural1 it is not surprising under the circumstances4 ,to think of ,haddon ,hall without ,hardwick ,hall is impossible1 for the two are among the greatest of many attractions in ,derbyshire4 ,hardwick ,hall 7,plate ,,xxv7 dates from the year #aeij and adjoins the site of an even more princely structure4 ,it owes its origin to the famous ,elizabeth ,hardwick1 whose building activities were abnormal1 partly because1 so runs the legend1 it was predicted that she would never die until she ceased to build2 which prophecy was fulfilled1 for her last day came at the time of a frost so severe that her labourers had to suspend operations4 ,bess of ,hardwick survived four husbands--,robert ,barley1 ,sir ,william ,cavendish1 ,sir ,william ,st4 ,loe1 and the ,earl of ,shrewsbury1 who was custodian of ,mary ,queen of ,scots4 ,the history of her descendants is even longer than her own4 ,she accumulated vast wealth and spent on building much of her annual income of #fj1jjj1 possibly for the reason that she believed in the prophecy concerning herself4 ,a woman of extraordinary energy and accomplishments1 she was responsible for the erection of ,hardwick1 ,chatsworth1 ,oldcotes1 and other places4 ,everyone knows the old saying1 8,hardwick ,hall1 ,more glass than wall10 which was applied to the first-named building for obvious reasons4 ,in those ,elizabethan days there was a growing desire to dissipate gloom and to reverse the old practice of building mainly for strength4 ,if ,bess of ,hardwick exaggerated the advantage of window space at ,hardwick ,hall and gave it somewhat the appearance of a modern steel-framed structure1 she provided us with compensations in the same house1 for the state apartment1 a corner of which is shown in the illustration by ,lake ,price 7,plate ,,xxv71 possesses great beauty in conception4 ,it is #fe feet long1 about #cj feet wide1 and #bf feet high4 ,the state bed included in the drawing came from ,chatsworth4 ,horeham ,hall1 ,essex 7,plate ,,xi71 is an interesting example of early sixteenth-century work1 retaining much of its original quality4 ,the ,princess ,elizabeth found a refuge here while her half-sister was on the throne1 and liked the place so much that she often revisited it after she succeeded to the ,crown4 ,the building1 owing its origin to ,sir ,john ,cutt1 shows a curious mixture of castle and mansion1 not only as regards the exterior but in the planning4 ,it was once surrounded by a moat1 which was partially filled in about the middle of the nineteenth century4 ,the stepped gables and ornamental battlements give picturesque irregularity to the elevation4 ,essex possesses in ,audley ,end 7,plates ,,xlii and ,,xliii7 a special reminder of the past4 ,this mansion was more imposing in size originally than it is now1 so much so that ,james ,i is said to have remarked1 8,it is too much for a ,king1 though it might do very well for a ,lord ,treasurer02 an observation matched by ,queen ,victoria1 who on visiting ,stafford ,house1 now the ,london ,museum1 said to the ,duchess of ,sutherland1 8,i have come from my house to your palace40 ,audley ,end takes its name from ,sir ,thomas ,audley1 afterwards ,baron ,audley of ,walden1 who was ,lord ,chancellor to ,henry ,,viii in succession to ,wolsey and ,more4 ,the ,manor of ,walden had been granted by ,william the ,conqueror to his famous follower1 ,geoffrey de ,mandeville1 first ,earl of ,essex1 and in course of time had reverted to the ,crown4 ,sir ,thomas ,audley acquired it in #aech1 after the ,dissolution of the ,monasteries with which he had so much to do and by which he profited extremely4 ,his elder daughter married first ,lord ,henry ,dudley and afterwards the ,duke of ,norfolk1 whose son1 ,lord ,thomas ,howard1 created ,earl of ,suffolk and ,baron ,howard de ,walden1 built the magnificent home1 named ,audley ,end in memory of his mother's father4 ,lord ,thomas ,howard1 who was one of the heroes in the fight against the ,armada1 and became ,lord ,treasurer of ,england1 made plans for a building of surpassing grandeur and spent something like #aij1jjj on the place1 an enormous sum in those days4 ,the work was begun in #afjc and was finished about #afaf4 ,soon afterwards the fortunes of the owner changed and he found himself in the ,tower4 ,his successors were unable to maintain the establishment1 and in #afff the third ,earl of ,suffolk sold it to ,charles ,,ii4 ,it became a favourite place with the ,king1 partly because it was on the road to ,newmarket1 and the mansion became alive with the festivities of the ,court4 ,pepys records how having drunk the ,king's health he played a flageolet solo in the enormous cellars1 the echo pleasing him greatly4 ,evelyn described the mansion as 8,indeede a cheerfull piece of ,gotic building1 or rather antico moderno10 conveying a hint of its ,italian features4 ,audley ,end reverted to the ,howard family in #agja1 and in #agba ,vanbrugh took it in hand1 demolishing three sides of the grand quadrangle and in other ways reducing its size to more homely proportions4 ,at the end of the eighteenth century ,lord ,braybrooke restored the mansion at great expense and wrote its history4 ,another ,jacobean house associated with the ,howard family was ,charlton ,house1 ,wiltshire 7,plate ,,xxxii71 the seat near ,malmesbury of the present ,earl of ,suffolk4 ,this building was 8modernised0 by ,matthew ,brettingham in the time of ,george ,,iii1 but many of its original characteristics survived4 ,the other ,charlton ,house 7,plate ,,xv7 is in ,kent4 ,sir ,s4 ,p4 ,maryon ,wilson1 ,bart41 the present owner1 is the fortunate possessor of a building of remarkable interest and perfection which has belonged to his family for generations4 ,the house was built for ,sir ,adam ,newton between #afjg and #afab1 and it is possible that it was intended to be a ,royal residence4 ,the founder was tutor to the eldest son of ,james ,i1 ,prince ,henry1 who1 however1 died in #afab4 ,evelyn believed the house to have been built for the ,prince of ,wales1 and as the royal arms were placed on the building this theory is tenable4 ,though the surroundings of ,charlton ,house have changed during the three centuries it has existed1 much of the original interest remains4 ,it is one of those buildings1 like ,cobham ,hall1 a few miles from ,gravesend1 which1 though on the verge of the newer civilisation1 retain their historic significance4 ,kent is rich in the architecture of other days1 and many instances could be given of structures erected at different periods4 ,they need not be enumerated1 for they are mostly well-known1 but reference may be made to those included among the illustrations4 ,east ,sutton ,place 7,plate ,,xxxix7 and ,little ,charleton 7,plate ,,lvii7 are neighbouring houses1 both being associated with the ,filmer family4 ,the former is now the residence of ,mr4 ,malcolm ,aird4 ,the ,old ,manor ,house1 ,hollingbourne 7,plate ,,xxxvi71 was built in ,elizabethan times for a member of the ,culpeper family1 and like many another old family residence it became a farmhouse4 ,hollingbourne is on the ,pilgrim's ,way and has reverted to its original use1 being now the home of ,mr4 ,j4 ,h4 ,deacon4 ,the old house at ,maidstone 7,plate ,,xlviii7 is typical of many erected throughout the country in ,jacobean times and finished with great elaboration4 ,its date is #afaa4 ,somewhat later than the house at ,maidstone1 and more than rivalling it in interest1 is the old house at ,ipswich 7,plate ,,xl74 ,this was built in the reign of ,charles ,i for ,robert ,sparrow1 ,bailiff of ,ipswich1 after whom the house was named4 ,the four bay windows on the principal story are supported by a cornice and a series of richly decorated corbels4 ,there are panels emblematical of ,europe1 ,asia1 ,africa1 and ,america1 and in the centre is a royal coat of arms4 ,figures appear again in the gables of the dormers4 ,the exuberant fancy of the designer of this house was governed by a sense of proportion1 otherwise the effect would have been far different4 ,for picturesqueness the half-timber houses are unequalled1 and many examples remain in ,england to remind us of the successful conception of this type of house1 originating1 no doubt1 in the supply of local materials4 ,this style of architecture reached its zenith in the time of ,elizabeth and was popular both for town and country buildings4 ,the streets of ,chester are a never-failing source of interest in this respect1 and many houses in the neighbourhood enjoy well-deserved fame4 ,one of them1 ,garden ,hall1 dating from the sixteenth century1 was destroyed by fire in #aiab1 a regrettable calamity4 ,moreton ,old ,hall 7,plate ,,xxiii7 is an exceptionally good example of a timbered house1 presenting nearly its original appearance4 ,as we have seen 7p4 #af71 it dates from the middle of the sixteenth century1 and although suffering a period of neglect1 it has been restored to usefulness and beauty4 ,it is now a farm and is still in the possession of the ,moreton family1 traditionally associated with it4 ,entering by the stone bridge over the moat1 the view is quaint and attractive1 the gatehouse and courtyard being most impressive4 ,of the rooms not one is so interesting as the ballroom or long gallery with its open timber roof4 ,pitchford ,hall 7,plate ,,xvi7 is among the most striking buildings in ,shropshire1 and it is said to possess an unbroken record of tenancy since it was erected in the time of ,henry ,,viii1 never suffering from the changes which are almost inevitable during such a long period4 ,the building is certainly in excellent preservation1 and is maintained as a residence with due regard to its venerable appearance4 ,the ,princess ,victoria and the ,duchess of ,kent stayed here in #ahcb4 ,the drawing by ,f4 ,w4 ,hulme shows more windows than exist at present1 an indication that alterations have taken place--possibly restorations to a former and better state4 ,the moat has been altered also4 ,the view taken by the artist barely suggests the extent of the building1 for only one wing is shown prominently4 ,also in ,shropshire is ,park ,hall1 near ,oswestry 7,plates ,,xxvi1 ,,xxvii1 and ,,xxviii71 the residence of ,mrs4 ,wynne ,corrie4 ,this house was erected about #afdj1 and ,richardson's almost photographic drawing represents the exterior as it stands at the present day4 ,a notable building is the ,oak ,house1 ,west ,bromwich 7,plate ,,viii74 ,the special feature is the timber turret rising from the centre of the roof and competing in effect with the series of chimney-stacks4 ,it is now in the midst of the ,black ,country1 with which it has little in common4 ,among the best half-timber houses in ,lancashire is ,smithells ,hall 7,plate ,,vi71 where the bold quatrefoil work makes a variation in decorative effect4 ,it is of very ancient foundation1 but the existing work dates from the early sixteenth century4 ,it passed into the ,ainsworth family about a hundred years ago at a cost of #ba1jjj1 and has since been preserved as a family residence4 ,turton ,tower 7,plate ,,vii7 is also a few miles from ,bolton4 ,the embattled stone tower1 built for defence1 belongs to an earlier period than the wood-and-plaster portion and affords a remarkable contrast in style4 ,in ,bolton1 and now belonging to the ,corporation1 is the interesting old building known as the 8,hall i' the ,wood0 7,plate ,v71 a description which has lost its point as much as the original 8,bolton-le-,moors40 ,cotton-spinning accounted largely for the transformation1 and it is appropriate enough that the ,hall i' the ,wood should be a museum1 reminding visitors of the history of a son of ,bolton who revolutionised the local industry1 namely ,samuel ,crompton4 ,the picturesque old building1 which once fitted so well into the open landscape1 became dilapidated and was divided up into tenements at the end of the eighteenth century4 ,among those who lodged there in poverty was ,crompton1 then engaged in perfecting his machine4 ,bolton operatives did not look with favour on mechanical aids to labour1 and ,crompton had to hide his 8mule0 from rioters4 ,at last he disclosed his secret1 and the idea which helped to make ,bolton rich gained immortality for the inventor1 but little else4 ,indeed1 but for a few friends who came to ,crompton's aid1 poverty would have claimed another genius4 ,as a ,museum the ,hall i' the ,wood will remain in perpetuity as the shrine of this remarkable man4 ,another historic building to end its days as a museum is ,aston ,hall1 ,warwickshire 7,plates ,,ix and ,,li71 which after a period of suspense came under the administration of the ,birmingham ,corporation4 ,the majestic appearance of the building remains in spite of attacks by man and time4 ,the central entrance leading to the hall is noteworthy as an innovation in planning4 ,with its curved gables1 towers1 and chimneys1 the exterior is picturesque1 while the interior is attractive in many ways1 not the least interesting feature being the oak staircase which was damaged by cannon-shot during the ,civil ,war4 ,sir ,thomas ,holte1 the first owner1 was a ,royalist and entertained ,charles ,i at his 8poor house of ,aston0 just before the battle of ,edgehill1 for which hospitality revenge was taken by the ,parliamentary army4 ,aston ,hall was once the residence of ,james ,watt1 son of the great engineer4 ,in the middle of the nineteenth century it was saved from demolition1 the mansion1 together with its surrounding acres1 being purchased for general use4 ,although ,hampton ,court 7,nash's delightful drawing of which is reproduced in colours as a frontispiece to this volume7 is the private property of the ,crown1 it is usually open for inspection1 and its splendid past is always an inspiration4 ,it was due to ,queen ,victoria that the ,palace and grounds1 long neglected1 were made available for the public4 ,a politician with a gift for phrase-making has described it aptly as a place of 8pleasure1 leisure1 and treasure10 which is true1 though its educational value need not have been overlooked4 ,a reference to its association with ,wolsey occurs on p4 #ah1 and much more could be written in connection with its early history1 the period which provided ,joseph ,nash with the subject of the drawing reproduced here4 ,since ,hampton ,court was first built its appearance has been changed considerably1 notably by ,wren's addition of the beautiful ,fountain ,court and other portions4 ,the building provides many chapters of romance1 sometimes connected with the restoration of hidden features4 ,especial interest1 for instance1 is attached to the stone bridge over the moat1 built in the time of ,henry ,,viii1 buried in after years1 and not reinstated until a few years ago4 ,the glory of ,kenilworth has departed1 but its history lives4 ,it is a long record1 and if little remains of the structure which saw so many pageants in ,tudor and earlier times1 the ruins1 including the ,gatehouse 7,plate ,,liii71 are of exceptional interest4 ,for all its poetic licence1 ,scott's novel is one of the books to which we turn for vivid descriptions of the scenes which took place within its walls and in the neighbourhood4 ,it was a glorious pile1 and1 in the words of the late ,mr4 ,c4 ,e4 ,mallows1 8in its perfect state1 it must have been a complete museum of ,english architecture from ,norman times to ,leicester's additions in the reign of ,elizabeth40 ,crewe ,hall1 which suffered by fire in #ahff1 was rebuilt by ,edward ,barry after the old model1 and the present building might be mistaken for the original structure1 erected between the years #afae and #afcf for ,sir ,randal ,crewe 7,plates ,,liv1 ,,lv1 and ,,lvi74 ,the story is told that at the time of the fire ,lord ,crewe sent a telegram to his architect1 saying1 8,crewe is burning1 come and build it up again10 an example of sangfroid suggested perhaps by the reply of ,sheridan to a friend who asked the dramatist how he could sit complacently with a bottle of wine before him looking at the burning ,drury ,lane ,theatre1 which ,sheridan practically owned at the time4 8,surely10 was the reply1 8a man may be allowed to take a glass of wine before his own fireside40 ,the noble old mansion known as ,kirby ,hall 7,plate ,,xiv7 is the work of ,john ,thorpe1 who has recorded that he laid the first stone in #aegj4 ,additions were made about #afch by ,inigo ,jones4 ,it was built for ,sir ,illustration3 ,,henry ,,shaw ,,chimney-,,piece ,,in ,,dining ,,room ,,at ,,buckling ,,hall1 ,,norfolk ,humphrey ,stafford and came into the possession of ,sir ,christopher ,hatton1 afterwards becoming one of the seats of the ,finch-,hatton family4 ,the mansion is rich in ,elizabethan memories and is one of the most interesting architectural relics in the country4 ,there is a story to the effect that it was intended to use the building in #ahje as a place of retirement for the ,court in the event of an invasion by ,napoleon4 ,kirby has suffered many vicissitudes4 ,a visitor some seventy years ago wrote3 8,a farmer occupies a suite of rooms the decoration of which would excite astonishment and admiration in a ,london ,club-house4 ,farm servants sleep surrounded by exquisite carving4 ,one room1 decorated with a fine old fireplace in which are the arms of ,lord ,chancellor ,hatton1 serves the purpose of a dog kennel40 ,in #aiac1 when the building was for sale by direction of the ,earl of ,winchilsea1 it was stated that though it had been unoccupied for about sixty years it was capable of restoration4 ,loseley ,house1 ,surrey 7,plate ,,xvii71 dates from between #aefb and #aefh4 ,the seat of ,sir ,william ,more1 it has descended through the family to the present owner1 ,mrs4 ,more-,molyneux-,m,c,cowen4 ,it was visited frequently by ,queen ,elizabeth1 who stayed also at the neighbouring ,sutton ,place4 ,in its best days ,loseley was a stately stone building of more than ordinary significance in history1 as recorded in 8,the ,loseley ,manuscripts10 by ,a4 ,j4 ,kempe 7#ahcf74 ,structural alterations in the past did not tend to improve its original beauty4 ,a still earlier example of domestic architecture is the ,manor ,house at ,east ,barsham1 ,norfolk 7,plate ,,xxii71 which was begun in the first few years of the sixteenth century4 ,it was built of red brick with terra-cotta decorations1 and it must have been a magnificent structure4 ,it fell into a ruinous state and was used as a farmhouse early in the nineteenth century4 ,another ,east ,anglian building which possessed importance in ,tudor times was ,west ,stow ,hall1 ,suffolk 7,plate ,,xxi74 ,the fine gatehouse shown in ,mller's drawing dominated the rest of the building and survived in a habitable state long after the main edifice had become useless4 ,in a decayed state the place was used for agricultural purposes4 ,sawston ,hall1 ,cambridgeshire 7,plate ,,iv71 was for centuries the residence of the 8,ayntient and ,rightworthy ,famylie of ,hodlestone10 the building illustrated being erected about the year #aeeg4 ,there is a tradition that ,queen ,mary took shelter in the mansion which preceded this one1 and was conveyed thence on horseback to ,framlingham4 ,her pursuers set fire to the building and the ,queen said1 8,let the house burn2 ,i will build ,huddleston a better40 ,it is now the seat of ,mr4 ,d4 ,lawlor-,huddleston4 ,among the most notable buildings in ,england is ,montacute1 an interior of which is illustrated here 7,plate ,,xxxi74 ,its name1 derived from mons acutus1 explains that it is on a hilly site1 from which it overlooks the picturesque village of ,montacute4 ,the castle was of ,norman origin and was then owned by the ,phelips family1 the possessor of the present mansion being ,mr4 ,w4 ,r4 ,phelips4 ,montacute was built at the end of the sixteenth century and gained a reputation for hospitality partly by the inscription over the entrance1 8,through this wide-opening gate1 ,none come too early1 none return too late40 ,the place was sacked by ,cromwell1 who stayed there for a time4 ,when ,richardson visited the house it was in poor condition1 8stripped in a great degree of its internal decorations and left to the mercy of time02 but restorations have been carried out4 ,it is noteworthy that while the walls were richly panelled and decorated the ceilings throughout were kept plain1 as indicated in the illustration4 ,among other interesting stone buildings erected in ,somersetshire may be mentioned ,barrington ,court 7,plate ,,xli71 built for the first ,earl of ,bridgewater in the time of ,james ,i4 ,this gabled mansion1 with its twisted chimneys and pinnacles1 was once of great beauty1 but it fell into disrepair1 and in a dilapidated state was occupied by a farmer4 ,in #aijg it was acquired by the ,national ,trust for ,places of ,historic ,interest or ,natural ,beauty1 under whose directions restorations have been effected4 ,the house at ,south ,petherton1 in the same county 7,plate ,,xxxvii71 is an example of the use of tracery1 now reserved for ecclesiastical buildings1 but once common in domestic architecture4 ,dorfold ,hall1 ,cheshire 7,plates ,,xxix and ,,xxx71 the residence of ,mr4 ,h4 ,j4 ,tollemache1 is a ,jacobean mansion about a mile from ,nantwich4 ,it is a brick building with stone dressings1 the interior being decorated in lavish style4 ,the plaster-work of the ceiling in the ,great ,chamber was especially ornate1 though not so overwhelming1 probably1 as it seems to be in ,richardson's drawing4 ,the illustrations of interiors which are included in this volume are typical of many productions which expressed the fancy of designers and decorators in olden times4 ,reference has been made to some of them already1 and a few more notes may be given in connection with the others4 ,benthall ,hall1 ,shropshire 7,plate ,,ii71 was built for ,william ,benthallin #aece on the site of a former house4 ,it was unharmed during the ,civil ,war1 but was badly damaged by fire about a hundred years ago4 ,the view of the dining-room1 re-peopled by the artist with some of its former tenants1 shows the oak fireplace extending to the enriched ceiling4 ,charlecote1 ,warwickshire 7,plate ,,xviii71 was built in #aeeh for ,thomas ,lucy1 who was knighted by ,queen ,elizabeth and whose portrait with his family is shown in the picture by ,jansen over the fireplace4 ,charlecote is supposed to have been the scene of ,shakespeare's youthful escapade1 which1 perhaps1 brought him into the very room depicted by ,j4 ,g4 ,jackson4 ,coombe ,abbey1 near ,coventry 7,plate ,,xix71 is of ancient foundation1 the first structure being a ,cistercian monastery4 ,it came into lay hands in the time of ,henry ,,viii and the place was rebuilt4 ,since then it has been altered several times1 notably from designs by ,captain ,wynne1 and in more recent times by ,eden ,nesfield4 ,coombe ,abbey1 the seat of the ,earl of ,craven1 was the home of the ,princess ,elizabeth1 only daughter of ,james ,i1 through whose marriage with the ,elector ,palatine the ,house of ,hanover came to the throne of ,england4 ,ford ,house1 ,devonshire 7,plate ,,xiii71 was built for ,sir ,richard ,reynell in #afaj and was the scene of much fighting during the ,civil ,war4 ,it has memories of ,charles ,i and the ,prince of ,orange4 ,burton ,agnes1 ,yorkshire 7,plate ,,xlvi71 the ancient home of the ,boyntons1 is still in the possession of a member of the family1 ,mr4 ,t4 ,l4 ,wickham-,boynton4 ,it is a most interesting ,tudor house1 both as regards the interior and exterior4 ,richardson's view of the hall1 with its semicircular arch leading to the staircase1 is obtainable still1 though pictures are now to be seen on the walls4 ,longford ,castle1 ,wiltshire 7,plate ,,xlix71 the seat of the ,earl of ,radnor1 is probably the work of ,john ,thorpe4 ,it was begun just before the advent of the ,spanish ,armada1 and it is related that the cost of the foundations was so heavy that the purse of the client1 ,sir ,thomas ,gorges1 was almost empty4 ,fortunately one of the ,spanish galleons was wrecked near ,hurst ,castle1 the ,hampshire fortress of which ,sir ,thomas became ,governor at the time of the threatened invasion4 ,it was in ,longford ,castle that ,holbein's ,ambassadors was to be seen for so many generations1 before it was removed with other pictures to the ,national ,gallery1 ,london1 about a quarter of a century ago4 ,among the illustrations are several showing the panelling which once adorned1 and in some cases still helps to furnish1 the mansions erected in other days4 ,some of the woodwork was kept in its natural state1 and some was gilt or otherwise embellished2 but the craftsmanship was always of supreme interest4 ,the panelling surrounding the drawing-room at ,boughton ,malherbe1 ,kent 7page #g71 was of various woods and was coloured4 ,the marquetry work in the dining-room at ,gilling ,castle1 ,yorkshire 7page #ac71 was very elaborate and beautiful in its own way1 like the other decorations in this apartment1 which measured #ci by #bb feet4 ,exceptionally fine work was also placed in the drawing-room at ,stockton ,house1 ,wiltshire 7,plate ,,xxxv74 ,the decorations of a room at ,great ,yarmouth provided ,shaw with inspiration 7page #ai71 and so did those at ,blickling ,hall1 ,norfolk 7page #bi74 ,the latter name is associated with the ,boleyn family1 and with the early days of the unfortunate ,queen4 ,the residence of the ,boleyns1 however1 must have been earlier than the present one4 ,the property was purchased in ,queen ,elizabeth's day by ,sir ,henry ,hobart1 whose descendant1 the ,marquis of ,lothian1 is now the owner4 ,the existing ,blickling ,hall was built in ,jacobean times1 and it will be seen that the date on the chimney-piece is #afbg4 ,nothing less than a monograph on every one of the ,old ,english ,mansions would suffice to do justice to their historic and artistic glories4 ,a great deal can be left unsaid1 however1 without minimising our appreciation1 and such implied praise may be taken for granted in the present case4 ,imperfect though some of these old buildings may have been in several ways1 they are among the classics in architecture and their appeal is continual4 ,generous in scale1 well-built1 decorated with high-spirited talent1 and occupied from time to time by people who1 if they do not always command our admiration1 at least compel our interest1 these houses have become a part of the national life4 ,if in some cases they have suffered demolition or sacrilege1 the fact should inspire us to spare no efforts to keep the remaining examples intact and to leave them as a heritage4 ,they please because of their distant past1 perhaps1 but they also attract for what they possess in value at the present time4 ,they are too precious to be sacrificed4 ,illustration3 ,t4 ,,allom ,,plate ,i4 ,,haddon ,,hall4 ,,derbyshire ,illustration3 ,j4 ,c4 ,bayliss ,,plate ,,ii4 ,,benthall ,,hall1 ,,shropshire ,illustration3 ,,ewan ,,christian ,,plate ,,iii4 ,,inch ,,hall1 ,,lancashire ,illustration3 ,j4 ,,dafforne ,,plate ,,iv4 ,,sawston ,,hall1 ,,cambridgeshire ,illustration3 ,j4 ,s4 ,,dodd ,,plate ,v4 ,,the ,,hall ,i' ,,the ,,wood1 ,,lancashire ,illustration3 ,j4 ,s4 ,,dodd ,,plate ,,vi4 ,,smithells ,,hall1 ,,lancashire ,illustration3 ,j4 ,s4 ,,dodd ,,plate ,,vii4 ,,turton ,,tower4 ,,lancashire ,illustration3 ,a4 ,e4 ,,everitt ,,plate ,,viii4 ,,the ,,oak ,,house1 ,,west ,,bromwich1 ,,staffordshire ,illustration3 ,a4 ,e4 ,,everitt ,,plate ,,ix4 ,,aston ,,hall1 ,,warwickshire ,illustration3 ,f4 ,w4 ,,fairholt ,,plate ,x4 ,,feering ,,house1 ,,essex ,illustration3 ,f4 ,w4 ,,fairholt ,,plate ,,xi4 ,,horeham ,,hall1 ,,essex ,illustration3 ,h4 ,,galton ,,plate ,,xii4 ,,salwarp ,,court4 ,,near ,,droitwich4 ,,worcestershire ,illustration3 ,j4 ,,gendall ,,plate ,,xiii4 ,,ford ,,house1 ,,devonshire ,illustration3 ,j4 ,d4 ,,harding ,,plate ,,xiv4 ,,kirby ,,hall1 ,,northamptonshire ,illustration3 ,j4 ,,holland ,,plate ,,xv4 ,,charlton ,,house1 ,,kent ,illustration3 ,f4 ,w4 ,,hulme ,,plate ,,xvi4 ,,pitchford ,,hall1 ,,shropshire ,illustration3 ,f ,w4 ,,hulme ,,plate ,,xvii4 ,,loseley ,,house1 ,,surrey ,illustration3 ,j4 ,g4 ,,jackson ,,plate ,,xviii4 ,,charlecote1 ,,warwickshire--,,the ,,great ,,hall ,illustration3 ,j4 ,g4 ,,jackson ,,plate ,,xix4 ,,coombe ,,abbey1 ,,warwickshire--,,the ,,elizabethan ,,room ,illustration3 ,j4 ,g4 ,,jackson ,,plate ,,xx4 ,,wroxhall ,,abbey1 ,,warwickshire ,illustration3 ,w4 ,m,,ller ,,plate ,,xxi4 ,,west ,,stow ,,hall4 ,,suffolk ,illustration3 ,,joseph ,,nash ,,plate ,,xxii4 ,,the ,,manor ,,house4 ,,east ,,barsham1 ,,norfolk ,illustration3 ,h4 ,l4 ,,pratt ,,plate ,,xxiii4 ,,moreton ,,hall1 ,,cheshire ,illustration3 ,h4 ,l4 ,,pratt ,,plate ,,xxiv4 ,,throwley ,,hall1 ,,staffordshire ,illustration3 ,,lake ,,price ,,plate ,,xxv4 ,,hardwick ,,hall1 ,,derbyshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxvi4 ,,park ,,hall1 ,,shropshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxvii4 ,,park ,,hall1 ,,shropshire--,,the ,,drawing-,,room ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxviii4 ,,oak ,,staircase ,,at ,,park ,,hall1 ,,shropshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxix4 ,,dorfold ,,hall1 ,,cheshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxx4 ,,dorfold ,,hall4 ,,cheshire--,,the ,,great ,,chamber ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxi4 ,,montacute1 ,,somersetshire--,,the ,,great ,,chamber ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxii4 ,,charlton ,,house1 ,,wiltshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxiii4 ,,interior ,,of ,,an ,,old ,,house ,,at ,,enfield ,,middlesex 7,,known ,,as 8,,queen ,,elizabeth',s ,,palace07 ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxiv4 ,,stockton ,,house4 ,,wiltshire--,,small ,,bed-,,chamber ,illustration3 ,,henry ,,shaw ,,plate ,,xxxv4 ,,side ,,of ,,drawing-,,room ,,at ,,stockton ,,house4 ,,wiltshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxvi4 ,,the ,,old ,,manor ,,house ,,hollingbourne4 ,,kent ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxvii4 ,,at ,,south ,,petherton1 ,,somersetshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxviii4 ,,the ,,old ,,manor ,,house1 ,,harlaxton1 ,,lincolnshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xxxix4 ,,east ,,sutton ,,place1 ,,kent--,,the ,,entrance ,,hall ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xl4 ,,old ,,house ,,at ,,ipswich1 ,,suffolk ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xli4 ,,barrington ,,court1 ,,somersetshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xlii4 ,,audley ,,end1 ,,essex--,,the ,,staircase ,illustration3 ,,henry ,,shaw ,,plate ,,xliii4 ,,portion ,,of ,,plaster ,,ceiling ,,at ,,audley ,,end4 ,,essex ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xliv4 ,,the ,,old ,,town ,,hall4 ,,nantwich1 ,,cheshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xlv4 ,,the ,,white ,,hart ,,inn1 ,,scole4 ,,norfolk ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xlvi4 ,,burton ,,agnes4 ,,yorkshire--,,entrance ,,to ,,staircase ,,from ,,the ,,hall ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xlvii4 ,,gawsworth ,,hall1 ,,cheshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xlviii4 ,,upper ,,portion ,,of ,,an ,,old ,,house ,,at ,,maidstone1 ,,kent ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,xlix4 ,,longford ,,castle1 ,,wiltshir--,,the ,,circular ,,dining-,,room ,illustration3 ,c4 ,j4 ,,richardson 7,,figures ,,by ,,weld ,,taylor7 ,,plate ,l4 ,,staircase ,,at ,,st4 ,,john',s ,,college1 ,,cambridge ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,li4 ,,aston ,,hall1 ,,warwickshire--,,the ,,entrance ,,hall ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,lii4 ,,oak ,,bedstead ,,at ,,cumnor ,,place1 ,,berkshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,liii4 ,,kenilworth ,,castle1 ,,warwickshire--,,entrance ,,porch ,,to ,,the ,,gatehouse ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,liv4 ,,crewe ,,hall1 ,,cheshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,lv4 ,,crewe ,,hall1 ,,cheshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,lvi4 ,,fireplace ,,at ,,crewe ,,hall4 ,,cheshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,lvii4 ,,little ,,charleton4 ,,kent ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,lviii4 ,,garden ,,bridge ,,at ,,kirby1 ,,northamptonshire ,illustration3 ,c4 ,j4 ,,richardson ,,plate ,,lix4 ,,porch ,,of ,,the ,,nag',s ,,head ,,inn4 ,,leicester ,illustration3 ,w4 ,,richardson ,,plate ,,lx4 ,,helmsley ,,hall4 ,,yorkshire ,,printed ,,for ,,the ,,proprietors ,,by ,,ballantyne1 ,,hanson ,,and ,,co4 ,,ltd41 ,,tavistock ,,street1 ,,covent ,,garden1 ,,london1 ,w4,c4 ,,and ,,published ,,at ,,the ,,offices ,,of 8,,the ,,studio10 #dd ,,leicestlk ,,square1 ,,london